1467:, who had recently died. No extant documents record Josquin as having worked in Ferrara before, though his earlier associations with Ercole suggest prior employment there; he signed a deed indicating he did not intend to stay there for long. Ercole is known to have met with Josquin's former employer Louis XII throughout 1499 to 1502, and these meetings may have led to his service for the Duke. Two letters survive explaining the circumstances of his arrival, both from courtiers who scouted musical talent in the service of Ercole. The first of these was from Girolamo da Sestola (nicknamed "Coglia") to Ercole, explaining: "My lord, I believe that there is neither lord nor king who will now have a better chapel than yours if your lordship sends for Josquin and by having Josquin in our chapel I want to place a crown upon this chapel of ours" (14 August 1502). The second letter, from the courtier Gian de Artiganova, criticized Josquin and suggested Heinrich Isaac instead:
2745:
1779:(with French text). In his 50-year career, Josquin's body of work is larger than that of any other composer of his period, besides perhaps Isaac and Obrecht. Establishing a chronology of his compositions is difficult; the sources in which they were published offer little evidence, and historical and contextual connections are meager. Few manuscripts of Josquin's music date from before the 16th century, due to, according to Noble, "time, war and enthusiasm (both religious and anti-religious)". Identifying earlier works is particularly difficult, and later works only occasionally offer any more certainty. The musicologist
1546:
2692:âinstead he often wrote his early chansons in strict imitation, as with many of his sacred works. He was one of the first to write chansons with all voices equal parts of the texture, and many contain points of imitation, similar to his motets. He also used melodic repetition, especially where the lines of text rhymed, and many of his chansons had a lighter texture and faster tempo than his motets. Some of his chansons were almost certainly designed to be performed with instruments; Petrucci published many of them without text, and some of the pieces (for example, the fanfare-like
1917:
1190:. Fallows contends that it is unlikely that Varday, who was well-educated and a musician, would have made such a mistake, but concedes that it is possible. The court of Matthias had a high standard of music and employed numerous musicians, many of them from Italy. Though Fallows asserts that Josquin's presence in the Hungarian king's service is likely, the evidence is circumstantial, and no original documents survive to confirm the claim. Josquin was in Milan again in January 1489, probably until early May, and met the theorist and composer
637:
2869:. Several factors make this unlikely: the painting does not resemble the Opmeer portrait, the notation is largely illegible and as a priest in his mid-thirties Josquin does not seem like the younger layperson in the portrait. Fallows disagrees, noting that "a lot of new details point to Josquin, who was the right age, in the right place, had already served at least two kings, and was now rich enough to have his portrait painted by the best", but concludes that "we shall probably never know who Leonardo's musician was".
2618:
1203:
1685:
1298:
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3248:
1793:
10466:
9390:
2754:
10476:
2478:
3077:
1449:
822:
1252:; the Basse-Yttre parish church; two parishes near Frasnes, Hainaut; and Saint-GĂ©ry, Cambrai. Surviving papal letters indicate that some of these claims were approved, but he does not appear to have taken up any of the canonries. The Sistine Chapel's monthly payment records give the best record of Josquin's career, but all papal chapel records from April 1494 to November 1500 are lost, making it unknown when he left Rome.
675:, and disappears from the records after 1448. Nothing is known of Josquin's mother, who is absent from surviving documents, suggesting that she was either not considered Josquin's legitimate mother, or that she died soon after, or during, his birth. Around 1466, perhaps on the death of his father, Josquin was named by his uncle and aunt, Gille Lebloitte dit des Prez and Jacque Banestonne, as their heir.
2963:"Drawing parallels between is easy; doing so has become traditional in music historiography. Unease with this tradition has occasionally been expressed by those who see in it a danger to an unprejudiced view of Josquin and his time To think of Josquin merely as a fifteenth- or sixteenth-century Beethoven would be like placing him behind the nearer figure and thereby obscuring him from view."
2461:. The traditional story, as told by Glarean in 1547, was that an unknown aristocrat used to order suitors away with this phrase, and Josquin immediately wrote an "exceedingly elegant" mass on it as a jab at him. Scholars have proposed different origins for the piece; Lowinsky has connected it to the court of Ascanio Sforza, and the art historian Dawson Kiang connected it to the Turkish prince
44:
10508:
2669:. In other works he used a tune originally associated with a separate text, or freely composed an entire song, using no apparent external source material. Another technique Josquin used was to take a popular song and write it as a canon with itself, in two inner voices, and write new melodic material above and around it, to a new text: he did this in one of his most famous chansons,
10532:
2212:, but essentially the two contrasting strains of Josquin's musicâfantasy and intellectual controlâare so blended and balanced in these two works that one can see in them the beginnings of a new style: one which reconciles the conflicting aims of the great 15th-century composers in a new synthesis that was in essence to remain valid for the whole of the 16th century."
10520:
1122:, and on 20 June 1484 came into the service of Cardinal Ascanio Sforza. Josquin's renown as a composer, a strong recommendation from a patron of fellow musician, or the use of his wealth, might have helped him get this prestigious and long-term position. While working for Ascanio, on 19 August Josquin successfully requested a previously rejected dispensation to be
1471:"To me seems well suited to serve your lordship, more so than Josquin, because he is more good-natured and companionable, and will compose new works more often. It is true that Josquin composes better, but he composes when he wants to and not when one wants him to, and he is asking 200 ducats in salary while Isaac will come for 120âbut your lordship will decide."
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the late 16th century and into the 17th. Instrumental arrangements of his works were often published from the 1530s to the 1590s. Josquin was described by
Taruskin as the "master architect" of High Renaissance music, and his compositions were parodied or quoted throughout Europe by almost every major composer of the later Renaissance, including Arcadelt, Brumel,
567:, caused his reevaluation as a central figure in Renaissance music. This has led to controversy over whether he has been unrealistically elevated over his contemporaries, particularly in light of over a hundred attributions now considered dubious. He continues to draw interest in the 21st century and his music is frequently recorded, central in the repertoire of
648:
now-outdated theory is that he was born around 1440, based on a mistaken association with
Jushinus de Kessalia, recorded in documents as "Judocus de Picardia". A reevaluation of his later career, name and family background has discredited this claim. He is now thought to have been born around 1450, and at the latest 1455, making him a "a close contemporary" of
2806:, the woodcut is the earliest known depiction of Josquin and presumably based on an oil painting which Opmeer says was kept in the collegiate church of St. Goedele. Church documents discovered in the 1990s have corroborated Opmeer's statement about the painting's existence. It may have been painted during Josquin's lifetime and was owned by Petrus Jacobi (
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His popularity led to imitation by fellow composers, and some publishers (especially in
Germany) misattributed works to him after his death to meet the demand for new Josquin compositions. This inspired a well-known remark that "now that Josquin is dead, he is producing more compositions than when he
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of 1502 was the first single-composer mass anthology, and
Josquin was the only composer whose masses merited a second and a third volume. Fallows asserts that Josquin gained European renown between 1494 and 1503, since the Petrucci publications and references by Gaffurius and Molinet occurred during
1490:
connected his purportedly difficult behavior with musical talent, and used the letter as evidence that
Josquin's contemporaries recognized his genius. Musicologist Rob Wegman questions whether meaningful conclusions can be drawn from such an anecdote. In a later publication, Wegman notes the largely
1391:
twice between 1499 and 1501. The long doubted account from Hémeré that
Josquin had a canonry at Saint-Quentin was confirmed by documentary evidence that he had exchanged it by 30 May 1503. Canonries at Saint-Quentin were almost always gifts from the French king to royal household members, suggesting
913:
In
February 1483 Josquin returned to Condé to claim his inheritance from his aunt and uncle, who may have been killed when the army of Louis XI besieged the town in May 1478 and had the population locked and burned in a church. In the same document, the collegiate church of Condé is reported to have
747:
at the
Collegiate Church of Saint-Quentin; this account has been questioned. The collegiate chapel there was an important center of royal patronage and music for the area. All records from Saint-Quentin were destroyed in 1669, and Josquin may have acquired his later connections with the French royal
617:
where he is named as "Josquin
Desprez". Scholarly opinion differs on whether his surname should be written as one word (Desprez) or two (des Prez), with publications from continental Europe preferring the former and English-language publications the latter. Modern scholarship typically refers to him
595:
saint of the 7th century. Josquin was a common name in
Flanders and Northern France in the 15th and 16th centuries. Other documents indicate that the surname des Prez had been used by the family for at least two generations, perhaps to distinguish them from other branches of the Lebloitte family. At
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and Christopher Reynolds as supporting the later dating, against the "received view" that it was composed much earlier. Its structure has been used to date it to both the 1480s and the early 1500s, depending on whether the rigidity of the tenor was interpreted as a sign of immaturity or mastery. In
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section of the Credo, where the texture becomes homophonic, and the tune appears in the topmost voice. Here the portion which would normally setâ"Sing, O my tongue, of the mystery of the divine body"âis instead given the words "And he became incarnate by the Holy Ghost from the Virgin Mary, and was
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to the Gonzagas. Circumstantial evidence suggests Juschino may have been Josquin des Prez, but he is not known to have been qualified for such a task, and it would be unusual to refer to him as a servant rather than a musician or singer. Josquin probably did not stay in Milan long, since his former
1275:
signature is in the style of the former. There is some evidence suggesting the name refers to Josquin des Prez; it may be interpreted as either "Josquin" or "Josquinus", depending on whether the curved line on the far right is read as the abbreviation for "us". Other choristers named Josquin tended
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have compromised some earlier scholarship which analyzed Josquin's style with works now not considered his. Major revision has also occurred in Josquin's biography, with entire portions of it being rewritten due to Josquin having been confused with people with similar names. Controversy has arisen
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him. Josquin's compositions traveled widely after his death, more so than those of Du Fay, Ockeghem and Obrecht combined. Surviving copies of his motets and masses in Spanish cathedrals date from the mid-16th century, and the Sistine Chapel is known to have performed his works regularly throughout
1113:
A surviving record indicates that Josquin was in Milan by 15 May 1484, perhaps just after his 1483 trip to Condé. In March 1484 he may have visited Rome. Fallows speculates that Josquin left Condé for Italy so quickly because his inheritance gave him more freedom and allowed him to avoid serving a
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him over his contemporaries. Wegman asserts that Obrecht was more highly regarded in Josquin's time, to which Noble has noted that Josquin's prestigious positions, publications and employers "scarcely looks like the career of an unregarded composer". Reflecting on the dispute, Sherr has concluded
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as a unifying device, some are canonic, others use a motto which repeats throughout, and some use several of these methods. In some motets which use canon, it is designed to be heard and appreciated as such; in others a canon is present, but difficult to hear. Josquin frequently used imitation in
1842:
in accordance with greater demand. By Josquin's time, masses were generally standardized into substantial, polyphonic five-movement works, making it difficult for composers to satisfy both liturgical and musical demands. Previous examples in the genre by composers such as Du Fay and Ockeghem were
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of the collegiate church of Notre-Dame on 3 May 1504; he may have obtained the post from Philip I's sponsorship. His role gave him political responsibility, and put him in charge of a workforce which included a dean, a treasurer, 25 canons, 18 chaplains, 16 vicars, 6 choir-boys and other priests.
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Josquin was born in the French-speaking area of Flanders, in modern-day northeastern France or Belgium. Despite his association with Condé in his later years, Josquin's own testimony indicates that he was not born there. The only firm evidence for his birthplace is a later legal document in which
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mass, where the voice bearing the preexisting melody stood aloof from the others, to the Renaissance parody masses, where all the voices formed an integrated texture. In such masses, the source material was not a single line, but motifs and points of imitation from all voices within a polyphonic
1846:
Josquin and Obrecht led an intensive development of the genre. Josquin's masses are generally less progressive than his motetsâthough he is credited with numerous innovations in the genre. His less radical approach may be explained by most of the masses being earlier works, or the structural and
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and Bertrandus Vaqueras. Two months after his arrival, Josquin laid claim to the first of various benefices on 18 August. Holding three unrelated benefices at once, without having residency there or needing to speak that area's language, was a special privilege that Josquin's tenure and position
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was still alive". Fallows asserts that the issue was more complex than publishers attempting to increase their profits: similar names of composers and compositions caused confusion, as did works which quoted Josquin, or student works which imitated his style. Josquin's pupils may have included
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that in his time Josquin's name was visibly 'sculpted' in the Sistine Chapel's choir room. The musicologist Richard Sherr writes that "while this is not a true autograph signature, the possibility that Josquin des Prez actually produced it during his stay in the papal chapel is very high", and
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Reflecting on the sentiment that Josquin was "the greatest composer of his generation, and the most important, innovative, and influential composer of the late 15th and early 16th centuries", Sherr notes growing dissent from that position in the early 21st century. Josquin's 2001 article in
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style with paraphrase and parody, making strict categorization problematic. Reflecting on Josquin's masses, Noble notes that "In general his instinct, at least in his mature works, seems to be to extract as much variety as possible from his given musical material, sacred or secular, by any
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Little is known about Josquin's early years. The specifics of his biography have been debated for centuries. The musicologist William Elders noted that "it could be called a twist of fate that neither the year, nor the place of birth of the greatest composer of the Renaissance is known". A
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was the highest ever for a ducal chapel member. The Artiganova letter is a unique source for Josquin's personality, and the musicologist Patrick Macey interprets it as meaning he was a "difficult colleague and that he took an independent attitude towards producing music for his patrons".
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Elders described Josquin as "the first composer in the history of Western music not to have been forgotten after his death", while John Milsom called him "the towering composer of the Renaissance". Fallows wrote that his influence on 16th century European music is comparable to that of
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wrote his sonnet to Josquin, "Ad Jusquino suo compagno musico d'Ascanio" ("To Josquin, his fellow musician of Ascanio"), which asks him "not to be discouraged if his 'genius so sublime' seemed poorly remunerated". Between 1485 and 1489 Josquin may have served under the Hungarian king
1930:
603:
His name has many spellings in contemporary records: his first name is spelled as Gosse, Gossequin, Jodocus, Joskin, Josquinus, Josse, Jossequin, Judocus and Juschino; and his surname is given as a Prato, de Prato, Pratensis, de Prés, Desprez, des Prés and des PrÚs. In his motet
2821:. Whether the woodcut is a realistic likeness of the oil painting remains uncertain; Elders notes that comparisons between contemporaneous woodcuts based on original paintings that do survive often show incompetent realizations, putting the accuracy of the woodcut in question.
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described Josquin in the 1860s as "one of the towering figures of Western music history, not merely a forerunner of Palestrina but his equal", and his research established the foundation for modern Josquin scholarship. In the early 20th century, leading musicologists such as
1783:
writes that modern scholarship is "still nowhere near a wholly reliable chronology and unlikely ever to reach it", and suggests that the current tentative models "tell us more about ourselves, and the way in which we come to know what we know, than they do about Josquin".
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3128:'s equal in music. Josquin was championed by the later theorists Heinrich Glarean and Gioseffo Zarlino, and the theologian Martin Luther declared "he is the master of the notes. They must do as he wills; as for the other composers, they have to do as the notes will."
1999:, the temporal and pitch interval of the canon, along with the voices that participate in it, are varied throughout. The free voices are more fully integrated into the texture, and frequently participate in imitation with the canonic voices, sometimes preemptively.
1985:
between the voices is fixed while the temporal interval varies between only two values; the two free voices generally do not participate in the imitation. The precise relationship of Josquin's mass to de Orto's is uncertain, as is Josquin's authorship of the mass.
1931:
1707:
died in 1474, Josquin and his contemporaries lived in a musical world of frequent stylistic change, in part due to the movement of musicians between different regions of Europe. A line of musicologists credits Josquin with three primary developments:
2638:
840:. Other evidence may place him in Aix as early as 1475. Josquin remained there until at least 1478, after which his name disappears from historical records for five years. He may have remained in René's service, joining his other singers to serve
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Modern scholarship differs in how it describes Josquin's nationality; his exact birthplace is unknown, and determining nationalities for 15th-century composers is problematic in general. He is known to have been born somewhere in French-speaking
1574:
and Cambrai Cathedral. Very few records of his activity survive from this time; he bought a house in September 1504, and sold it (or a different one) in November 1508. The Josquin mentioned may be the Joskin who traveled to present chansons to
3450:
2437:
remains the best known work to use this device and was published by Petrucci in 1505, relatively soon after its composition. Taruskin notes that the use of Ercole's name is Josquin's method of memorialization for his patron, akin to a
3626:) but modern scholarship has secured at least a partial attribution to Leonardo. Fallows noted in 2020 that "no scholar in the last thirty years has disputed Leonardo's authorship, at least for the main body of the general painting."
2895:. Fallows notes that the subject has similar facial features to the portrait printed by Opmeer, but concludes that there is not enough evidence to conclude Josquin is the sitter. Clercx-Lejeune also suggested Josquin was depicted in
2297:, dates to the decade of Josquin's birth. By the turn of the 16th century, composers were moving from quoting single voice lines, to widen their reference to all voices in the piece. This was part of the transition from the medieval
612:
of his name, where it is spelled IOSQVIN Des PREZ. Documents from Condé, where he lived for the last years of his life, refer to him as "Maistre Josse Desprez". These include a letter written by the chapter of Notre-Dame of Condé to
1384:, who had been burned at the stake in Florence in 1498, and for whom Josquin seems to have had a special reverence; the text was Savonarola's favorite psalm, a meditation on which he left unfinished in prison when he was executed.
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on the marketplace altar to the Holy Virgin. He died on 27 August 1521 and left his possessions to Condé's chapter of Notre Dame. He was buried in front of the church's high altar, but his tomb was destroyed, either during the
522:
Influential both during and after his lifetime, Josquin has been described as the first Western composer to retain posthumous fame. His music was widely performed and imitated in 16th-century Europe, and was highly praised by
938:
to deal with his inheritance, suggesting he was then wealthy. This would explain how later in his life he was able to travel frequently and did not have to compose greatly demanded mass cycles like contemporaries Isaac and
2071:, it is also a paraphrase mass, for fragments of the tune appear in all voices; throughout the work the melody appears in a wide variety of tempos and rhythms. Technically it is almost restrained, compared to the other
1181:
stating that the court of Matthias included "excellent painters and musicians, among them even Josquin himself". Some scholars suggest Aleandro was repeating a false rumor, or that Varday confused Josquin des Prez for
1400:("Remember thy promise unto thy servant") was composed as a gentle reminder to the king to keep his promise of a benefice to Josquin. Glarean claimed that on receiving the benefice, Josquin wrote a motet on the text
1330:) record, and he may have returned to Rome soon after. From then to 1498 there is no firm evidence for his activities; Fallows suggests he stayed in Cambrai for these four years, citing Johannes Manlius's 1562 book
1238:
to Milan, presumably in return for Josquin. Josquin's arrival brought much-needed prestige to the choir, as the composers Gaspar and Stokem had left recently and the only other choristers known to be composers were
679:
Josquin described being born beyond Noir Eauwe, meaning 'Black Water'. This description has puzzled scholars, and there are various theories on which body of water is being referred to. L'Eau Noire river in the
1928:
1271:(choir gallery). It is one of almost four hundred names inscribed in the chapel, around a hundred of which can be identified with singers of the papal choir. They date from the 15th to 18th centuries, and the
3139:
musical narrative, and whose compositions were considered the summit of polyphonic refinement. Until the 20th century, discussion of Josquin's music was mainly limited to music scholars such as the theorists
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in the lowest of the three voices. The other voices sang a secular French text, which had either a symbolic relationship to the sacred Latin text, or commented on it. Josquin's three known motet-chansons are
1309:
Documents found since the late 20th century have shed some light on Josquin's life and works between 1494 and 1503; at some point he was ordained a priest. In August 1494 he went to Cambrai, as attested by a
2636:
8548:
2676:
Josquin's earliest chansons were probably composed in northern Europe, under the influence of composers such as Ockeghem and Busnois. Unlike them, he never adhered strictly to the conventions of the
3515:
Until 1997 Josquin was thought to have joined the papal choir in 1486, as he was mistakenly identified with a 'Jo. de Pratis' in papal documents. It is now thought that this refers to the composer
3217:
and Lowinsky (1965). The 1971 International Josquin Festival-Conference firmly established Josquin in the center of Renaissance music, a position later cemented by Lowinsky's 1976 monograph. The
1981:
is the earlier of the two. It has a head-motif consisting of the whole first Kyrie which is repeated in the beginning of all five movements. The canon is restricted to the highest voice, and the
8225:
8021:
7923:
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8661:
8416:
2696:) contain writing more idiomatic for instruments than voices. Josquin's most famous chansons circulated widely in Europe; some of the better-known include his lament on the death of Ockeghem,
2637:
1532:
in 1503 prompted the evacuation of the Duke and his family, as well as two-thirds of the citizens, and Josquin left by April 1504. His replacement, Obrecht, died of the plague in mid-1505.
3291:
about the extent of Josquin's influence; there is no doubt about his importance in Western music, but some scholars have contended that the extent of his reevaluation has unrealistically
2302:
work. By the time Josquin died, these parody masses had become well established and Josquin's works demonstrate the variety of methods in musical borrowing during this transition period.
3554:
asked him to become master of the choirboys there in 1508, but it is not known how he responded, and there is no record of him working there; most scholars presume he remained in Condé.
1938:
Josquin's predecessors and contemporaries wrote masses based on canonic imitation. The canonic voices in these masses derive from pre-existing melodies such as the "L'homme armé" song (
3407:
in leading the 'Netherland Style', but also that Josquin and his contemporaries united that school with the "very different world of French music", resulting in what scholars call the
2817:
and organist at St. Gudula, Brussels. Following the will's instructions, the altarpiece was placed next to Jacobi's tomb, but it was destroyed in the late 16th century by Protestant
1404:("Lord, thou hast dealt graciously with thy servant") to show his gratitude to the king, either Louis XI or Louis XII. Although such a motet survives and is mentioned with Josquin's
397:
Josquin's biography has been continually revised by modern scholarship, and remains highly uncertain. Little is known of his early years; he was born in the French-speaking area of
3338:'s major monograph (2009), which is currently the standard biography for the composer, and he and Machaut were the only pre-Baroque composers to have entire chapters in Taruskin's
3296:
that Josquin's reputation is somewhat lessened, but on the basis of his most admired and firmly attributed works "he remains one of the towering figures in the history of music".
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1491:
unprecedented nature of such a position and warns "yet of course the letter could equally well be seen to reflect the attitudes and expectations of its recipient, Ercole d'Este".
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7772:
51:
of Josquin des Prez, possibly copied from a now-lost oil painting made during his lifetime. There have been doubts concerning whether this depiction is an accurate likeness, see
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Due to chronological issues in his career Josquin was long dismissed as the "des Prez" of CompĂšre's motet. Modern research allows for the reexamination of this possibility. See
3382:
contends that "By far the greater number of secular compositions have French texts. Culturally and legally Josquin was a Frenchman". As such, sources such as Patrick Macey,
3364:
Gossart had died by the time Josquin took up his inheritance in 1483. It remains uncertain exactly when he died, and whether the composer was an orphan for much of his youth.
1342:
as the source for many of his stories, strengthening the authenticity of his Josquin anecdotes; Melanchthon was close to musical figures of his time, including the publisher
8496:
2661:
Josquin left numerous French chansons, for three to six voices, some of which were probably intended for instrumental performance as well. In his chansons, he often used a
10044:
1570:
This was an appealing place for his old age: it was near his birthplace, had a renowned choir and was the leading musical establishment in Hainaut, besides St. Vincent at
92:
3157:
2731:. They are even simpler in texture than his French chansons, being almost uniformly syllabic and homophonic, and they remain among his most frequently performed pieces.
1929:
8890:
1357:
and Ascanio Sforza suggest that Josquin may have re-entered the service of the Sforza family in Milan around 1498; they refer to a servant Juschino who delivered the
3433:
The similarities between these two pieces are "often cited as a clear allusion"; Fallows expresses uncertainty on how meaningful the similarities between Josquin's
703:
rivers at Condé, preferring the latter since it was known for transporting coal, perhaps fitting the "Black Water" description. Other theories include a birth near
2936:
2918:
depicts Josquin; it was created long after the composer's death, but Clercx-Lejeune has contended that it is an older portrait which Housez restored and modified.
2908:
2843:
695:
make a surname connection irrelevant, and that the river is too small and too far from Condé to be a candidate. Fallows proposes a birthplace near the converging
370:) which informs much of his work. He further emphasized the relationship between text and music, and departed from the early Renaissance tendency towards lengthy
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4258:
4256:
4254:
4252:
4250:
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4246:
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Few composers before Josquin had written polyphonic psalm settings, and these form a large proportion of his later motets. Josquin's settings include the famous
852:, which may be a musical tribute for the king, since it ends with the psalm verse "In te Domine speravi, non confundar in aeternum", the line Louis commissioned
2208:
made man." Noble comments that "The vigour of the earlier masses can still be felt in the rhythms and the strong drive to cadences, perhaps more so than in the
2022:". Basing a mass on such a source was an accepted procedure, as evidenced by the existence of the mass in Sistine Chapel part-books copied during the papacy of
809:. The motet may refer to the singer Pasquier Desprez, but Josquin is a likelier candidate. Josquin was certainly influenced by Du Fay's music; the musicologist
770:. There is no concrete evidence for this tutorship, and later commentators may only have meant that Josquin "learnt from the older composer's example". Josquin
7790:
4243:
2577:), which are often considered to be among his most significant accomplishments. Josquin wrote several examples of a new type of piece developed in Milan, the
7071:
Josquin des Prez: Proceedings of the International Josquin Festival-Congress Held at the Juilliard School at Lincoln Center in New York City, 21â25 June 1971
1528:
is also attributed to this time; it was previously thought to have been written in the early 1480s. Josquin did not stay in Ferrara long. An outbreak of the
8705:
1334:, which associates Josquin with Cambrai's musical establishment. This assertion would fit with Josquin's possible youthful connections in Cambrai and later
2203:
on the tune, using the melody in all voices and all parts of the mass, in elaborate and ever-changing polyphony. One of the high points of the mass is the
1168:
2834:, depicts a man holding sheet music, which has led many scholars to identify him as a musician. The work is usually dated to the mid-1480s, and numerous
934:) to Josquin, because "as a musician who had already served two kings, he was now a distinguished visitor to the little town". Josquin hired at least 15
319:
8630:
8383:
8194:
7990:
7892:
7831:
3420:
If the Haine theory from Fallows is correct, that would mean Josquin was born in the County of Hainaut, which would fit with a 1560 verse by the poet
2881:
2777:
2511:. He wrote most of them for four voices, which had become the compositional norm by the mid-15th century, and descended from the four-part writing of
2075:
mass, until the closing Agnus Dei, which contains a complex canonic structure including a rare retrograde canon, around which other voices are woven.
2627:
2381:
A solmization mass is a polyphonic mass which uses notes drawn from a word or phrase. The style is first described by Zarlino in 1558, who called it
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1767:. Josquin was a professional singer throughout his life, and his compositions are almost exclusively vocal. He wrote in primarily three genres: the
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masses limiting. He pioneered paraphrase and parody masses, which were not well established before the 16th century. Many of his works combine the
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technique, the source tune may appear in many voices of the mass. Several of Josquin's masses feature the paraphrase technique, such as the early
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technique in that the source material, though still monophonic, could be (by Josquin's time) highly embellished, often with ornaments. As in the
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Six works are generally attributed to Josquin which borrow from polyphonic pieces, two of which also include canonic features. One of theseâthe
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and contrapuntal display. Throughout the work, the melody is presented on each note of the natural hexachord: C, D, E, F, G and A. The later
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860:. A less accepted theory for Josquin's activities between 1478 and 1483 is that he had already entered the household of his future employer
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Kiråly, Peter (1992). "Un séjour de Josquin des Prés a la cour de Hongrie?" [A stay of Josquin des Prés at the court of Hungary?].
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The song survives anonymously in most sources. The attribution to Busnois, which exists in a single late source, is not generally accepted.
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largely dismissed Josquin. Various publications then began to raise his status, beginning with a new edition of his complete works by
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Matthews, Lora; Merkley, Paul (Spring 1998). "Iudochus de Picardia and Jossequin Lebloitte dit Desprez: The Names of the Singer(s)".
2457:' ("let me take care of it"). Essentially the entire mass's content is related to this phrase, and the piece is thus something of an
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Josquin's motets are his most celebrated and influential works. Their style varies considerably, but can generally be divided into
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masses, in which a pre-existing tune appears in one voice of the texture, with the other voices being more or less freely composed;
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concludes that these innovations demonstrate the transition from the earlier music of Du Fay and Ockeghem, to Josquin's successors
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There is no documentary evidence covering Josquin's education or upbringing. Fallows associates him with Goseequin de Condent, an
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Josquin's full name, Josquin Lebloitte dit des Prez, became known in the late 20th century from a pair of 1483 documents found in
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and syllabic text declamation; ornateâand often imitativeâcontrapuntal fantasias in which the text is overshadowed by music; and
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1958:). Josquin's two canonic masses are not based on existing tunes, and so stand apart from the mainstream. They are closer to the
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the time, the name Lebloitte was rare and the reason that Josquin's family took up the more common surname des Prez as their
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Fagnart, Laure (2019). "Gaspar Depicted? Leonardo's Portrait of a Musician". In Lindmayr-Brandl, Andrea; Kolb, Paul (eds.).
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3334:, the only early music group to do so. Josquin's presence in 21st-century scholarship remains strong; he was the subject of
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Rodin, Jesse (14 January 2022). "The Josquin Canon at 500: With an Appendix Produced in Collaboration with Joshua Rifkin".
2014:, a technique which had been in use for most of the 15th century. Josquin used the technique early in his career, with the
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Josquin went to Rome with Ascanio in July 1484 for a year, and may have gone to Paris for a litigation suit involving the
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Wegman, Rob C. (Summer 1999). ""And Josquin Laughed..." Josquin and the Composer's Anecdote in the Sixteenth Century".
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Kellman, Herbert (2009). "Dad and Granddad Were Cops: Josquin's Ancestry". In Bloxam, M. Jennifer; Filocamo, Gioia;
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There is little information on Josquin's reputation during his lifetime. His composition of masses was commended by
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argued the subject is Josquin; she interpreted the words on the sitter's sheet music as "Cont" (an abbreviation of "
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the end, evidence of style, biography and transmission all point toward 1503/4 as the most likely composition date.
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in the 17th century, Josquin's dominance began to lessen. He was overshadowed by Palestrina, who dominated the pre-
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The best known of Josquin's paraphrase masses, and one of the most famous mass settings of the Renaissance, is the
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While in Ferrara, Josquin wrote some of his most famous compositions, including the austere, Savonarola-influenced
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2389:, meaning "carved out of the words". The earliest known mass by any composer using solmization syllables is the
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1995:, written during Josquin's final years in Condé. In contrast to the inflexibility of the canonic scheme in the
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Josquin was probably in France during the early 16th century; documents found in 2008 indicate that he visited
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wrote about his works. Josquin's popularity during his lifetime is also suggested by publications: Petrucci's
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in the late Middle Ages. Josquin was also a considerable innovator in writing motets for five and six voices.
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Dumitrescu, Theodor (February 2009). "Reconstructing and repositioning Regis's "Ave Maria... virgo serena"".
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offered; many of his choir colleagues had also enjoyed such privileges. His claims included a canonry at the
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Higgins, Paula (Autumn 2004). "The Apotheosis of Josquin des Prez and Other Mythologies of Musical Genius".
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and had a profound influence on the music of 16th-century Europe. Building on the work of his predecessors
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Kellman, Herbert. "Josquin and the Courts of the Netherlands and France: The Evidence of the Sources". In
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2538:, an early work where each voice enters by restating the line sung before it. Other early works such as a
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The first firm record of Josquin's employment is from 19 April 1477 when he was a singer in the chapel of
346:, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the
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3213:(Vol 1 1962/Vol 2 1965), an influential article by Lowinsky (1964), and debates between the musicologist
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1991:
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3449:, pp. 258â260) for analysis on how Josquin quickly departs from Ockeghem's style in this work. See
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on the 20th century. Comparisons with Beethoven are particularly common, though Taruskin cautions that:
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Many of the motets use compositional constraint on the process; others are freely composed. Some use a
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remains controversial, with some scholars calling it an early composition, and others a later one. The
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is based on a popular chanson of the same name by Ockeghem, and is one of Josquin's shortest masses.
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1650:. Josquin's compositions were given a prominent place by Petrucci, and were reissued numerous times.
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Rice, Eric (1999). "Tradition and Imitation in Pierre Certon's DĂ©ploration for Claudin de Sermisy".
7279:. The New Grove Dictionary of Music and Musicians: The Composer Biography Series. Other chapters by
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lists fewer than 200 works attributed to him, down from more than 370. These revisions of Josquin's
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Josquin's two canonic masses were published in Petrucci's third book of Josquin masses in 1514; the
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instead, and thus the earliest record of Josquin's employment in the papal choir is from 1489. See
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in 1480. In that case, Josquin would have been with Ascanio in Ferrara and might have written his
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Music in Renaissance Ferrara 1400â1505: The Creation of a Musical Center in the Fifteenth Century
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1416:. Some of Josquin's other compositions have been tentatively dated to his French period, such as
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From June 1489 until at least April 1494, Josquin was a member of the papal choir in Rome, under
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king who he suspected had caused the deaths of his aunt and uncle. By then, the sacred music of
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are thought to have been particularly popular, given their wide dissemination in later sources.
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considered to be one of his earliest masses. This mass is based on a secular tune similar to "
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7498:; Keith, Larry; Galansino, Arturo; Mazzotta, Antoni; Nethersole, Scott; Rumberg, Per (2011).
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Uno gentile et subtile ingenio Studies in Renaissance Music in Honour of Bonnie J. Blackburn
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may be spurious works; they were both rejected by Noble, but accepted by the editors of the
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Du Fay was one of the first to write masses based on secular songs (a parody mass), and his
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In his later years Josquin composed many of his most admired works. They include the masses
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Fallows says that "it hardly counts as an autograph, but it may be the closest we can get."
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faces, which are printed next to the staff. Canon can also be found in the "Osanna" of the
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3) A focus on the text, with the music serving to emphasize its meaning, an early form of
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occurring on successive lines of the text he was setting. This is prominent in his motet
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Josquin probably moved from Ferrara to his home region of Condé-sur-l'Escaut, and became
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1366:. Before he left, he most likely wrote two secular compositions, the well-known frottola
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6813:, 30 vols. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1987â .
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portraying Josquin is the most reproduced image of any Renaissance composer. Printed in
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of musical syllables of the Duke's name, 'Ercole, Duke of Ferrara', which in Latin is 'H
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8833:. Centre d'études supérieures de la Renaissance (in French). Tours: Bleu nuit éditeur.
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Sherr cited numerous articles as milestones in revising Josquin's biography, including
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in 1732. The late 18th century saw a new interest in Netherlandish music: studies from
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2976:; Coclico claimed to be his student, though his statements are notoriously unreliable.
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Prior to Josquin's mature period, the most common technique for writing masses was the
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8150:(1999). "Ein Graffito von Josquin Desprez auf der Cantoria der Sixtinischen Kapelle".
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masses, which contains one or more voices derived from another via strict imitation;
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of France. Now a wealthy man, in the 1480s Josquin traveled Italy with the Cardinal
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Urquhart, Peter (2012). "Ad fugam, De Orto, and a Defense of the 'Early Josquin'".
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The New Grove High Renaissance Masters: Josquin, Palestrina, Lassus, Byrd, Victoria
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Numerous composers wrote laments after his death, three of which were published by
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settings which combined these extremes with the addition of rhetorical figures and
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2019:
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by Zarlino, in which the base tune is drawn from the syllables of a name or phrase.
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1424:, which resembles the style of other composers of the French court. The five-voice
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743:'s friend Claude Hémeré, suggesting that Josquin became a choirboy with his friend
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Starr, Pamela F. (Winter 1997). "Josquin, Rome, and a Case of Mistaken Identity".
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3344:(2005). The 500th anniversary of Josquin's death in 2021 was widely commemorated.
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chapel through an early association with Saint-Quentin. He may have studied under
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Wegman, Rob C. (May 2008). "Ockeghem, Brumel, Josquin: New Documents in Troyes".
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6903:. Music Literature Outline Series (3rd ed.). Bloomington: Frangipani Press.
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of Paris. Josquin's connection to Louis XI could be furthered by his early motet
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Composers writing laments for fellow composers was a long-standing tradition in
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Bloxam, M. Jennifer. "Masses Based on Polyphonic Songs and Canonic Masses". In
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3141:
3113:
3040:
3025:
3000:
2980:
2516:
2362:
2284:
2192:
2023:
1982:
1977:
1811:
1505:
1264:
1211:
1023:
861:
802:
684:
653:
552:
418:
284:
7666:
7629:
7181:
Milsom, John (2015). "Making a Motet: Josquin's Ave Maria ⊠virgo serena". In
4026:
4024:
4022:
4020:
3299:
Since the 1950s, Josquin's music has become central to the repertoire of many
3267:
3251:
1684:
1276:
to sign their name in full, whereas Josquin des Prez is known to have done so
1202:
10548:
10337:
10223:
10129:
10119:
10014:
9906:
9891:
9676:
9574:
9334:
9329:
9314:
9265:
9152:
8950:
8549:
Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis
8334:
8298:
8090:
7985:
7949:(October 1964). "Musical Genius: Evolution and the Origins of a Concept II".
7674:
7648:
7466:
Sherr, Richard. "Chronology of Josquin's Life and Career â Introduction". In
7296:
7268:
7242:
7216:
6874:
6848:
3688:, p. 31) for a complete list of extant medieval and Renaissance laments.
3644:
3379:
3335:
3214:
3181:
3132:
3096:
2842:, though none have achieved wide approval. In 1972, the Belgian musicologist
2799:
2578:
2504:
2307:
2229:
1865:
1858:
1741:
1716:
1622:
1432:, seems to have been written for a royal funeral, perhaps that of Louis XII,
1297:
1131:
1127:
736:
688:
657:
536:
524:
507:
375:
291:
196:
9402:
8165:
7314:
Reynolds, Christopher (2004). "Chapter 4: Interpreting and Dating Josquin's
7221:
Music in the Middle Ages: With an Introduction on the Music of Ancient Times
2477:
1653:
On his deathbed, Josquin left an endowment for the performance of his work,
10536:
10413:
10352:
10243:
10202:
10069:
9939:
9813:
9686:
4017:
3271:
3125:
3100:
3076:
3048:
2900:
2199:. It was probably the last mass Josquin composed. This mass is an extended
1814:
is the central rite of the Catholic Church, and polyphonic settings of the
1768:
1724:
1720:
1455:, an important patron of the arts, was Josquin's employer during 1503â1504.
1286:
Osservazioni per ben regolare il coro dei cantori della Cappella Pontificia
940:
383:
263:
216:
131:
6232:
6139:
3855:
3604:, pp. 374â376) for information on the attribution issues surrounding
2315:
and has the rhythmic augmentation of the borrowed tenor part indicated by
10408:
10403:
10134:
10104:
9886:
9798:
9788:
9569:
9014:
8993:
8971:
8954:
7964:
7690:
Godt, Irving (Autumn 1977). "Motivic Integration in Josquin's "Motets"".
5441:
5439:
5437:
3104:
2854:
2585:
mold which were completely secular, Josquin's motet-chansons contained a
2496:
2324:
2254:
1899:
Josquin began his career at a time when composers started to find strict
1888:
1882:
1792:
1358:
1183:
935:
761:
744:
672:
347:
9415:
8756:[Painting and Frame: Portrait of Josquin des PrĂšs] (in French).
8621:
8613:
8561:
8462:
8454:
8439:
Sherr, Richard (August 2011). "Laudat Autem David: Fallows on Josquin".
8261:
8173:
7607:
7599:
5715:
5713:
5711:
5709:
5707:
2550:) for four voices. Josquin favored the technique throughout his career.
475:, Josquin produced some of his most admired works, including the masses
10238:
10228:
7495:
7292:
3665:
3312:
3292:
2818:
2665:, sometimes a popular song whose origin can no longer be traced, as in
2653:
2466:
2462:
1876:
1343:
1230:. Josquin may have arrived there due to an exchange of singers between
712:
664:
584:
8592:
8538:
8290:
8067:
7972:
7818:
7743:
7705:
6484:
5434:
4093:
3481:
is among Josquin's most frequently analyzed and celebrated works. See
2753:
2311:, which includes a canon in the "Benedictus"âis based on a chanson by
10248:
9074:
8878:
5704:
3209:
raised Josquin's status, and brought the first major study on him by
2574:
2566:
2492:
2177:
1835:
1734:
1513:
1429:
1302:
789:, as there is a "des Prez" among the cathedral's musicians listed in
728:
450:
402:
367:
9702:
9033:, a large-scale database of Josquin's works, directed by Jesse Rodin
8301:(Summer 2003). "Munich, Milan, and a Marian Motet: Dating Josquin's
8248:
Roth, Adalbert (2000). "Judocus de Kessalia and Judocus de Pratis".
3303:
and has been increasingly featured in recordings, with those by the
2776:, with a man holding the canon by Josquin. It may depict Josquin or
1448:
1392:
Josquin had been employed by Louis XII. According to Glarean in the
10233:
9083:
8584:
8530:
8282:
8059:
7810:
3677:
2858:
2716:
2558:
2547:
2508:
2458:
1584:
1580:
1571:
1380:. The latter might be a veiled reference to the religious reformer
1377:
1260:
1151:
841:
821:
680:
609:
597:
592:
539:, Josquin's reputation became overshadowed by the Italian composer
414:
258:
3981:
2542:
show prominent imitation, as do later ones such as his setting of
2341:. In this mass, Josquin used each of the Italian song's voices as
1847:
textual limitations of the genre. Almost all are for four voices.
876:
was collected in Ferrara, which includes six chansons by Josquin,
43:
7620:
7555:
7163:
5461:
5459:
5457:
5381:
4063:
3802:
2795:
2685:
1831:
1776:
1712:
1481:
Around three months later, Josquin was chosen; his salary of 200
1277:
1154:
in Saint Aubin during the later 1480s. Around this time the poet
732:
696:
458:
391:
371:
252:
48:
6851:(2001). "Who composed Mille regretz?". In Haggh, Barbara (ed.).
2445:
The other Josquin mass to prominently use this technique is the
2067:
is a "fantasia on the theme of the armed man." While based on a
2057:, is a technical tour-de-force on the tune, containing numerous
1879:
song which is used freely in all voices, and in many variations;
671:, who was accused of numerous offenses, including complaints of
374:
lines on a single syllable, preferring to use shorter, repeated
10253:
5302:
5300:
5298:
5296:
4477:
3255:
2814:
2425:. Taking the solmization syllables with the same vowels gives:
1804:
Rome, Biblioteca Apostolica Vaticana, Capp. Sist. 45, ff. 1v-2r
1666:(1562â1598) or in 1793 when the church was demolished amid the
1388:
246:
9030:
8727:"The Renaissance's Most Influential Composer, 500 Years Later"
7528:. The Oxford History of Western Music. Vol. 1. New York:
7406:"Masses Based on Popular Songs and Solmization Syllables". In
6918:
Haggh, Barbara (1994). "Josquin's Portrait: New Evidence". In
6827:
Josquin des Pres and His Musical Legacy: An Introductory Guide
6722:
Bridgman, Nanie (1960). "The Age of Ockeghem and Josquin". In
6045:
5892:
5737:
5454:
5066:
5064:
3506:, p. 34) for the complete poem and an English translation
2983:
in a 1545 edition of Josquin's music. These included works by
2715:
Josquin also wrote at least three pieces in the manner of the
6602:, § "Studies That Significantly Revised Josquin's Biography".
5725:
4272:
2528:
2500:
1854:
categorizes the composer's masses into the following styles:
1827:
1819:
1772:
1658:
1482:
1118:
had a reputation for excellence. Josquin was employed by the
700:
663:
Josquin's father Gossart dit des Prez was a policeman in the
588:
387:
268:
7436:
Litterick, Louise. "Chansons for Three and Four Voices". In
7347:. Numerous other contributors, see pages 956â958. New York:
6361:
6319:
6035:
6033:
6031:
6029:
5293:
3622:
has a complex and controversial history of attribution (see
3071:
1642:
that celebrates the future engagement between Charles V and
8800:
Josquin's Rome: Hearing and Composing in the Sistine Chapel
7617:
Gaspar van Weerbeke: New Perspectives on his Life and Music
7494:
6617:
6268:
6238:
6181:
6145:
5882:
5880:
5632:
5557:
5422:
5125:
5061:
5049:
4962:
4856:
4854:
4841:
4839:
4694:
4317:
4165:
2862:
2316:
2176:
paraphrases plainchants in praise of the Virgin Mary. As a
7526:
Music from the Earliest Notations to the Sixteenth Century
6734:. The New Oxford History of Music. Vol. III. Oxford:
6539:
6537:
6535:
6462:
6460:
6336:
6334:
6210:
6208:
6171:
6169:
6156:
6154:
5865:
5853:
5805:
5793:
5545:
5214:
4938:
4878:
4866:
4636:
4609:
4549:
4513:
4041:
4039:
4005:
3635:
The remark is variously attributed to the music publisher
2931:
774:
Ockeghem several times, most directly in his double motet
8075:
Merkley, Paul (Fall 2001). "Josquin Desprez in Ferrara".
6925:
From Ciconia to Sweelinck: Donum natalicium Willem Elders
6026:
5783:
5781:
5779:
5766:
5764:
5749:
5692:
5586:
5584:
5523:
5521:
5250:
4986:
4826:
4824:
4809:
4760:
4758:
4756:
4754:
4655:
4653:
4651:
4626:
4624:
4587:
4585:
4383:
4381:
4368:
4366:
4353:
4351:
4349:
4336:
4334:
4332:
4153:
2876:
is often related to Josquin. It is usually attributed to
1972:, both of which use original melodies in all the voices.
668:
8889:] (in German). Vol. 3 (3rd ed.). Leipzig:
6472:
6445:
6093:
6091:
5992:
5990:
5916:
5904:
5877:
5668:
5656:
5644:
5608:
5281:
5238:
4851:
4836:
4194:
4192:
4114:
3993:
3900:
3898:
3896:
3894:
2487:, showing imitative counterpoint between the four voices
2349:, based on a chanson variously attributed to Martini or
409:, or taught by Ockeghem. By 1477 he was in the choir of
8852:. Constellatio Musica 10 (in French). Palermo: L'Epos.
6853:
Essays on Music and Culture in Honor of Herbert Kellman
6656:
6532:
6520:
6496:
6457:
6331:
6256:
6244:
6205:
6166:
6151:
5226:
5137:
5076:
4974:
4799:
4797:
4036:
1476:
Gian de Artiganova to Ercole I d'Este, 2 September 1502
1305:, who had captured the Sforzas, his previous employers.
870:
at this time for Ercole d'Este. Around this period the
362:, he developed a complex style of expressiveâand often
7552:
Leonardo da Vinci: The Complete Paintings and Drawings
7340:
1001 Classical Recordings You Must Hear Before You Die
7094:. "Josquin at Ferrara: New Documents and Letters". In
6752:
6490:
6421:
6220:
6193:
6014:
5975:
5940:
5928:
5829:
5817:
5776:
5761:
5680:
5596:
5581:
5533:
5518:
4914:
4890:
4821:
4782:
4770:
4751:
4739:
4682:
4648:
4621:
4597:
4582:
4537:
4525:
4489:
4429:
4417:
4405:
4393:
4378:
4363:
4346:
4329:
3910:
3879:
3792:
3790:
3777:
3775:
3317:
1001 Classical Recordings You Must Hear Before You Die
2880:, and is thought to depict the Italian music theorist
957:
Tentative outline of Josquin's life from 1483 to 1489
10496:
6646:
6644:
6561:
6549:
6508:
6397:
6385:
6373:
6307:
6127:
6088:
6002:
5987:
5841:
5569:
5088:
5022:
4501:
4441:
4216:
4204:
4189:
4177:
4143:
4141:
4126:
4102:
3891:
2393:, which Josquin wrote for Ercole I. It is based on a
813:
suggests that the impact was not particularly large.
778:, which shares an opening line with Ockeghem's motet
8980:
Fitch, Fabrice (20 January 2022). "Josquin at 500".
7832:"Mass: 6. The cyclic mass in the later 15th century"
6614:, § "Problems: Character and Posthumous Reputation".
6295:
6115:
6103:
5410:
5010:
4998:
4794:
4465:
3922:
3867:
3843:
3112:
this time. After Josquin's death, humanists such as
2581:. Though similar to 15th-century works based on the
1459:
Josquin arrived in Ferrara by 30 May 1503, to serve
7979:
7445:Milsom, John. "Motets for Five or More Voices". In
6692:
6584:
6409:
6082:
5969:
5512:
5404:
5375:
5335:
5323:
5275:
5208:
5119:
5043:
4950:
4926:
4733:
4576:
4311:
4265:, §2 "Aix-en-Provence, ?Paris, Condé-sur-l'Escaut (
4262:
3971:
3837:
3814:
3787:
3772:
3766:
3648:
3323:have recorded all of Josquin's masses, and won the
2872:A portrait from the early 16th century kept in the
1759:, and eventually to the late Renaissance composers
1130:Saint Aubin without having been ordained a priest.
421:, may have worked in Vienna for the Hungarian king
8629:
8471:
8382:
8193:
7989:
7891:
7830:
7748:
7106:
6967:. Turnhout: Brepols Publishers. pp. 183â200.
6727:
6641:
6057:
5338:, §10 "Works: canon and chronology", § paras. 5â7.
4902:
4138:
4075:
4051:
3171:gave Josquin more prominence. The music historian
2680:âthe rigid and complex repetition patterns of the
461:. Many of his works were printed and published by
30:Several terms redirect here. For other uses, see
7524:(2010). "Chapter 14: Josquin and the Humanists".
7095:
7083:
7061:
6680:
2335:is based on the popular three-voice Italian song
1376:("I have placed my hope in you, Lord"), based on
683:has been proposed, and there was a village named
10546:
8754:"Tableau et cadre: Portrait de Josquin des PrĂšs"
7500:Leonardo da Vinci: Painter at the Court of Milan
7187:The Cambridge History of Fifteenth-Century Music
3664:and Renaissance music. Earlier examples include
3411:. Some sources refer to him as 'Franco-Flemish'.
2465:'s promise to the pope to overthrow his brother
587:form of Josse, the French form of the name of a
8340:The New Grove Dictionary of Music and Musicians
8043:
6988:Guillaume de Machaut: Secretary, Poet, Musician
6285:
6283:
5326:, §10 "Works: canon and chronology", § para. 5.
5278:, §10 "Works: canon and chronology", § para. 7.
3861:
3808:
3737:, p. 127), for comprehensive discographies
3710:
3392:call him a "French composer". The musicologist
2507:that foreshadowed the later development of the
2451:, based on the musical syllables contained in '
2164:, also probably an early work, paraphrases the
1255:After restorations from 1997 to 1998, the name
1248:; Saint Omer, Cambrai; a parish in the gift of
643:and the surrounding area in the time of Josquin
7157:
6881:(2nd ed.). Turnhout: Brepols Publishers.
4672:
4670:
4668:
4278:
2865:"), and she identified the music as Josquin's
9718:
9431:
9407:
9099:
8307:Journal of the American Musicological Society
7716:Journal of the American Musicological Society
6895:
4069:
2172:; it is one of his shortest masses. The late
313:
8195:"Du Fay [Dufay; Du Fayt], Guillaume"
6280:
3124:praised him, with Bartoli describing him as
2452:
1796:Manuscript showing the opening Kyrie of the
8146:
7825:
5387:
4665:
4642:
3562:
3560:
2038:
1362:employers were captured during Louis XII's
1315:
919:
9725:
9711:
9438:
9424:
9106:
9092:
7583:
7109:Bonfire Songs: Savonarola's Musical Legacy
3482:
3466:, pp. 25â29) for further information.
3435:Alma Redemptoris mater/Ave regina caelorum
3224:
2604:Fortune destrange plummaige/Pauper sum ego
2540:Alma Redemptoris mater/Ave regina caelorum
2527:writing his motets, with sections akin to
776:Alma Redemptoris mater/Ave regina caelorum
378:between voices. Josquin was a singer, and
320:
306:
27:Composer of the Renaissance (c. 1450â1521)
9445:
9059:International Music Score Library Project
8970:
8188:
7628:
7457:. "Masses on Plainsong Cantus Firmi". In
7453:
7435:
7402:
7299:and Robert Stevenson. London: Macmillan.
7137:Leonardo da Vinci: The Complete Paintings
6051:
6039:
5886:
5755:
5743:
5731:
5698:
5686:
5674:
5662:
5650:
5638:
5614:
4237:
3601:
3072:Commendation, decline and reconsideration
2481:The opening passage from Josquin's motet
1234:and Pope Innocent, where the latter sent
465:in the early 16th century, including the
342:â 27 August 1521) was a composer of High
9181:Missa L'homme armé super voces musicales
9075:List of compositions by Josquin des Prez
8545:
7945:
7886:
7520:
7474:
7423:
7313:
7090:
7021:
6901:Music in the Middle Ages and Renaissance
6721:
6555:
6439:
6355:
5922:
5910:
5898:
5871:
5626:
5575:
5465:
5354:
5244:
5094:
4968:
4323:
4171:
4045:
3974:, §1 "Birth, family and early training (
3730:
3706:
3557:
3446:
3082:Missa L'homme armé super voces musicales
3075:
2930:
2476:
2055:Missa L'homme armé super voces musicales
1915:
1791:
1711:1) The gradual departure from extensive
1683:
1680:List of compositions by Josquin des Prez
1447:
1296:
1201:
850:Misericordias Domini in aeternum cantabo
820:
785:Josquin could have been associated with
731:at the collegiate church of Saint-GĂ©ry,
707:, due to his early association with the
693:complications surrounding Josquin's name
635:
42:
9079:Digital Image Archive of Medieval Music
8785:
8648:10.1093/gmo/9781561592630.article.20939
8403:10.1093/gmo/9781561592630.article.20882
8212:10.1093/gmo/9781561592630.article.08268
8074:
8008:10.1093/gmo/9781561592630.article.14497
7910:10.1093/gmo/9781561592630.article.26100
7851:10.1093/gmo/9781561592630.article.45872
7747:; Kennedy, Joyce Bourne, eds. (2013) .
7712:
7647:
7614:
7546:
7465:
7160:Music and Patronage in the Sforza Court
7081:
6958:
6873:
6847:
6786:
6662:
6635:
6623:
6543:
6526:
6502:
6466:
6340:
6274:
6262:
6250:
6226:
6214:
6187:
6175:
6160:
5232:
5155:
5143:
5131:
5082:
5070:
5055:
4944:
4920:
4896:
4884:
4872:
4845:
4830:
4788:
4776:
4764:
4745:
4700:
4688:
4676:
4659:
4630:
4615:
4603:
4591:
4555:
4543:
4531:
4519:
4495:
4483:
4435:
4423:
4411:
4399:
4387:
4372:
4357:
4340:
4222:
4210:
4198:
4183:
4159:
4132:
4120:
4108:
4011:
3999:
3987:
3928:
3916:
3904:
3885:
3873:
3849:
3820:
3734:
3702:
3698:
3597:
3463:
3442:
2704:, an uncertain attribution to Josquin;
2002:
1989:No questions of authenticity cloud the
1715:lines, and emphasis instead on smaller
1402:Bonitatem fecisti cum servo tuo, Domine
735:until mid-1466. Other scholars such as
631:
14:
10547:
8720:
8599:
8568:
8297:
8105:
7787:
7755:The Concise Oxford Dictionary of Music
7484:Wegman, Rob C. "Who Was Josquin?". In
7483:
7444:
7414:
7180:
7131:
6824:
6730:Ars Nova and the Renaissance 1300â1540
6698:
6567:
6514:
6478:
6451:
6427:
6379:
6367:
6325:
6313:
6199:
6133:
6097:
6020:
5981:
5946:
5934:
5859:
5835:
5823:
5811:
5799:
5787:
5770:
5602:
5590:
5563:
5551:
5539:
5527:
5306:
5220:
5028:
5004:
4992:
4980:
4815:
4507:
4471:
4447:
4095:The Concise Oxford Dictionary of Music
4081:
3796:
3781:
3640:
3503:
3490:
3486:
3474:
3472:
3103:and the music theorists Gaffurius and
1516:. Due to its stylistic resemblance to
1163:in Vienna; an account by the Cardinal
951:
366:âmovement between independent voices (
10590:16th-century Franco-Flemish composers
10580:15th-century Franco-Flemish composers
9732:
9706:
9419:
9406:
9087:
8912:(in German). Tutzing: Hans Schneider.
8789:
8628:
8514:
8469:
8438:
8380:
8371:
8370:Noble, Jeremy. "Josquin Desprez". In
8369:
8362:
8357:
8333:
7841:. Revised by Andrew Kirkman. Oxford:
7485:
7476:
7467:
7458:
7446:
7437:
7428:
7416:
7407:
7365:
7267:
7241:
7215:
7158:Merkley, Paul; Merkley, Lora (1999).
7104:
6981:
6917:
6789:Josquin des Prez: A Guide to Research
6674:
6611:
6599:
6403:
6391:
6301:
6121:
6109:
6063:
6008:
5996:
5847:
5719:
5515:, §12 "Masses: (ii) Complete masses".
5445:
5428:
5416:
5256:
5016:
4956:
4932:
4908:
4860:
4803:
4459:
4147:
4057:
4030:
3718:
3520:
3493:for further information on the motet.
2838:, including Franchinus Gaffurius and
9227:Inviolata, integra et casta es Maria
9113:
9041:Plainsong and Medieval Music Society
8690:
8268:
8247:
7689:
7271:(1984) . "Josquin Desprez (I, II)".
7049:from the original on 17 October 2021
6686:
6587:, §10 "Works: canon and chronology".
6491:Burkholder, Grout & Palisca 2014
6415:
5287:
5122:, §7 "CondĂ©-sur-l'Escaut (1504â21)".
4736:, §5 "France and Italy (1494â1503)".
4579:, §4 "The papal chapel (1489â1494)".
4314:, §3 "Milan and elsewhere (1484â9)".
3714:
3685:
2078:
1557:A 1545 map of Condé-sur-l'Escaut by
946:
10575:Classical composers of church music
8343:(1st ed.). London: Macmillan.
7651:(April 1996). "Josquin and Milan".
7475:Urquhart, Peter. "Discography". In
7336:
6650:
5357:, § "What Josquin Was Really Like".
3469:
2804:Opus chronographicum orbis universi
2376:
1727:texture, giving it an inner unity.
1353:Two letters between members of the
24:
8778:
8740:from the original on 29 April 2021
8696:"The Musical Mysteries of Josquin"
8024:from the original on 11 March 2021
7991:"Josquin (Lebloitte dit) des Prez"
7390:from the original on 4 August 2022
7009:from the original on 26 April 2022
2616:
2361:, based on a three-voice motet by
1338:there. Manlius cites the reformer
739:relay a 17th-century account from
709:Collegiate Church of Saint-Quentin
25:
10606:
9023:
8764:from the original on 3 March 2022
8708:from the original on 11 July 2022
8664:from the original on 6 April 2019
8499:from the original on 3 March 2022
8228:from the original on 22 June 2020
7775:from the original on 19 July 2022
7576:Journal and encyclopedia articles
7554:(Anniversary ed.). Cologne:
4462:, § "Ave Maria ... virgo serena".
3733:, Appendix B (Discography)), and
2861:) and "A Z" (an abbreviation of "
2698:Nymphes des bois/Requiem aeternam
2033:masses are the two based on the "
1911:
350:, he was a central figure of the
10570:Belgian male classical composers
10530:
10518:
10506:
10474:
10465:
10464:
10000:Giovanni Pierluigi da Palestrina
9389:
9388:
8802:. AMS Studies in Music. Oxford:
8470:Sherr, Richard (27 April 2017).
8419:from the original on 3 June 2018
8134:from the original on 15 May 2022
7926:from the original on 6 June 2020
6946:from the original on 31 May 2022
6677:, § "Biographies and Overviews".
6629:
5149:
3723:
3691:
3670:Armes, amours/O flour des flours
3654:
3629:
3610:
3590:
3569:
3544:
3526:
3262:
3246:
2752:
2743:
2652:Problems playing this file? See
2634:
2609:
2600:A la mort/Monstra te esse matrem
2215:
1926:
1761:Giovanni Pierluigi da Palestrina
1544:
1461:Ercole I d'Este, Duke of Ferrara
828:, Josquin's first known employer
541:Giovanni Pierluigi da Palestrina
10585:French male classical composers
9220:Ave Maria ... Virgo serena
9065:Free scores by Josquin des Prez
9055:Free scores by Josquin des Prez
8752:
7867:from the original on 6 May 2019
7096:Lowinsky & Blackburn (1976)
7084:Lowinsky & Blackburn (1976)
6289:
3672:(1377) for Machaut, Ockeghem's
3509:
3496:
3456:
3427:
3414:
3367:
3358:
3341:Oxford History of Western Music
3330:in 1987 for their recording of
3188:(1920s) and high evaluation by
1053:
1038:
816:
687:there, though the musicologist
413:and then probably served under
382:are mainly vocal. They include
8493:10.1093/OBO/9780199757824-0194
7654:Plainsong & Medieval Music
3315:recommended by critics in the
2935:Imaginary Josquin portrait by
1398:Memor esto verbi tui servo tuo
1301:Josquin probably served under
1206:Josquin's presumed signature (
856:to write on 50 scrolls in the
405:and have been educated at the
333:Josquin Lebloitte dit des Prez
52:
13:
1:
9743:List of Renaissance composers
9174:Missa L'homme armé sexti toni
8944:500th anniversary reflections
8113:The Oxford Companion to Music
7619:. Epitome musical. Turnhout:
7322:. Routledge. pp. 71â85.
6726:; Hughes, Dom Anselm (eds.).
4240:, §2 "Posthumous reputation".
3711:Matthews & Merkley (1998)
3674:Mort, tu as navré de ton dart
3403:notes that Josquin succeeded
3347:
3080:Agnus Dei II, from Josquin's
3066:
2836:candidates have been proposed
2064:Missa L'homme armé sexti toni
1843:widely admired and emulated.
1693:
1577:Charles V, Holy Roman Emperor
1332:Locorum communium collectanea
1141:
711:, or in the small village of
626:
336:
9167:Missa Hercules Dux Ferrariae
9069:Choral Public Domain Library
9039:of Josquin's music from the
8868:Works of historical interest
8792:for extensive bibliographies
8677:UK public library membership
8432:UK public library membership
8241:UK public library membership
8190:Planchart, Alejandro Enrique
8037:UK public library membership
7939:UK public library membership
7880:UK public library membership
7366:Sherr, Richard, ed. (2000).
7316:Missa Hercules dux ferrariae
7199:10.1017/CHO9781139057813.017
3743:
3386:, Jeffrey Dean and Reese in
2926:
2808:
2734:
2435:Missa Hercules Dux Ferrariae
2433:in modern nomenclature. The
2391:Missa Hercules Dux Ferrariae
2387:soggetto cavato dalle parole
2086:Paraphrase masses by Josquin
1526:Missa Hercules Dux Ferrariae
867:Missa Hercules Dux Ferrariae
858:ChĂąteau de Plessis-lez-Tours
468:Missa Hercules Dux Ferrariae
7:
8110:. In Latham, Alison (ed.).
7318:". In Meconi, Honey (ed.).
6787:Charles, Sydney R. (1983).
3862:Matthews & Merkley 1998
3809:Matthews & Merkley 1998
3769:, §8 "Portrait of Josquin".
3424:that describes him as such.
3301:early music vocal ensembles
3221:began publication in 1987.
2995:, as well as the anonymous
2874:Galleria nazionale di Parma
1688:Josquin's four-voice motet
1134:dates the well-known motet
569:early music vocal ensembles
431:, and the popular chansons
10:
10611:
10373:Petrus Phalesius the Elder
10188:English Virginalist School
8327:10.1525/jams.2003.56.2.239
8319:10.1525/jams.2003.56.2.239
7737:10.1525/jams.2004.57.3.443
7729:10.1525/jams.2004.57.3.443
7427:. "Four-Voice Motets". In
7337:Rye, Matthew, ed. (2017).
7251:W. W. Norton & Company
7225:W. W. Norton & Company
7191:Cambridge University Press
6961:Holford-Strevens, Leofranc
6770:W. W. Norton & Company
6768:(9th ed.). New York:
6766:A History of Western Music
6707:
4279:Merkley & Merkley 1999
3479:Ave Maria ... Virgo serena
3239:Ave Maria ... Virgo serena
2536:Ave Maria ... Virgo serena
2484:Ave Maria ... Virgo serena
2160:and canonic elements. The
1677:
1443:
1137:Ave Maria ... Virgo serena
884:En l'ombre d'ung buissonet
764:on the death of Ockeghem,
656:, and slightly older than
428:Ave Maria ... Virgo serena
401:, and he may have been an
29:
10444:
10396:
10323:
10262:
10216:
10163:
10155:Jan Pieterszoon Sweelinck
10038:
9925:
9837:
9749:
9740:
9649:
9603:
9542:
9486:
9453:
9413:
9408:Links to related articles
9386:
9353:
9282:
9243:
9211:
9130:
9121:
8829:Barbier, Jacques (2010).
8572:The Journal of Musicology
8518:The Journal of Musicology
8078:The Journal of Musicology
8047:The Journal of Musicology
7667:10.1017/S0961137100001078
7630:10.1484/M.EM-EB.4.2019026
6899:; Becker, Warren (1988).
4070:Gleason & Becker 1988
3684:(1497) for Ockeghem. See
3261:
3245:
3236:
3231:
3158:Raphael Georg Kiesewetter
2921:
2472:
2197:Vespers of Corpus Christi
1964:written by Ockeghem, and
1787:
1292:
717:Illibata Dei virgo nutrix
692:
606:Illibata Dei virgo nutrix
9031:Josquin Research Project
8891:F. E. C. Leuckart Verlag
8877:(1893). "Chapter 5". In
8788:, pp. 469â495) and
8303:Ave Maria ⊠virgo serena
8099:10.1525/jm.2001.18.4.544
8091:10.1525/jm.2001.18.4.544
7247:Music in the Renaissance
7183:Busse Berger, Anna Maria
6993:Cornell University Press
6825:Elders, William (2013).
5046:, §6 "Ferrara (1503â4)".
4486:, pp. 114â115, 524.
3600:, pp. 214â252) and
3523:for further information.
3352:
3146:Johann Gottfried Walther
3144:in the 1680sâ1690s, and
2893:Guillaume se va chauffer
2867:llibata Dei Virgo nutrix
2295:Missa Se la face ay pale
2223:Parody masses by Josquin
1730:2) The prominent use of
1673:
1535:
722:
527:and the music theorists
471:. In his final years in
36:Desprez (disambiguation)
32:Josquin (disambiguation)
10183:English Madrigal School
8926:Oxford University Press
8804:Oxford University Press
8640:Oxford University Press
8510:(subscription required)
8485:Oxford University Press
8395:Oxford University Press
8381:Sherr, Richard (2001).
8204:Oxford University Press
8166:10.52412/mf.1999.H2.887
8118:Oxford University Press
8000:Oxford University Press
7902:Oxford University Press
7843:Oxford University Press
7759:Oxford University Press
7693:Journal of Music Theory
7530:Oxford University Press
7374:Oxford University Press
7372:. Oxford and New York:
7185:; Rodin, Jesse (eds.).
7105:Macey, Patrick (1998).
7075:Oxford University Press
7033:Oxford University Press
6831:Leuven University Press
6791:. New York and London:
6736:Oxford University Press
3581:Missa D'ung aultre amer
3225:Skepticism and revision
2830:, widely attributed to
2596:Que vous madame/In pace
2427:ReâUtâReâUtâReâFaâMiâRe
2371:Missa D'ung aultre amer
2333:Missa Fortuna desperata
2261:Missa Fortuna desperata
2241:Missa D'ung aultre amer
1840:Western classical music
1664:French Wars of Religion
1282:Andrea Adami da Bolsena
1197:
1169:archbishop of Esztergom
892:Ile fantazies de Joskin
873:Casanatense chansonnier
844:, who sent them to the
621:
574:
10595:French Roman Catholics
10025:TomĂĄs Luis de Victoria
9829:Oswald von Wolkenstein
9616:Jacob Clemens non Papa
9146:Missa de Beata Virgine
8875:Ambros, August Wilhelm
8798:Rodin, Jesse (2021) .
6442:, § "Facts and Myths".
6358:, § "What Legends Do".
6085:, §13 "Secular Works".
5629:, § "The Man At Arms".
5388:Lockwood & Kirkman
3643:, p. 30), and to
3619:Portrait of a Musician
3439:Alma Redemptoris mater
3154:Johann Nikolaus Forkel
3137:common practice period
3131:Upon the emergence of
3118:Baldassare Castiglione
3092:
3084:, as reprinted in the
2985:Benedictus Appenzeller
2965:
2947:
2909:Charles-Gustave Housez
2844:Suzanne Clercx-Lejeune
2827:Portrait of a Musician
2765:Portrait of a Musician
2644:Sung by the dwsChorale
2621:
2569:; and two settings of
2488:
2453:
2290:
2210:Missa de Beata Virgine
2174:Missa de Beata Virgine
2162:Missa Ave maris stella
2156:, which also includes
2135:
2123:Missa de Beata Virgine
2100:Missa Ave maris stella
2029:Josquin's most famous
1935:
1807:
1799:Missa de Beata Virgine
1700:
1640:Jean Lemaire de Belges
1638:, is set to a poem by
1614:Pater nosterâAve Maria
1593:Missa de Beata Virgine
1479:
1456:
1348:Adrianus Petit Coclico
1306:
1215:
900:Une mousque de Biscaye
829:
780:Alma Redemptoris mater
644:
499:Pater nosterâAve Maria
478:Missa de Beata Virgine
425:, and wrote the motet
56:
10045:Transition to Baroque
9990:Pierre de Manchicourt
9631:Pierre de Manchicourt
9447:Franco-Flemish School
9361:Franco-Flemish School
9305:August Wilhelm Ambros
9188:Missa La sol fa re mi
8848:Fiore, Carlo (2003).
8479:Oxford Bibliographies
8106:Milsom, John (2011).
7952:The Musical Quarterly
7369:The Josquin Companion
7320:Early Music Borrowing
3409:Franco-Flemish School
3173:August Wilhelm Ambros
3169:François-Joseph Fétis
3079:
3010:Bartolomé de Escobedo
2961:
2934:
2620:
2480:
2448:Missa La sol fa re mi
2321:Missa Faisant regretz
2251:Missa Faisant regretz
2220:
2083:
2016:Missa L'ami Baudichon
1920:Opening of Josquin's
1919:
1875:, based on a popular
1795:
1687:
1634:. The last of these,
1510:O virgo prudentissima
1469:
1451:
1412:is now attributed to
1372:("The Cricket"), and
1300:
1214:'s choir gallery wall
1205:
1052:Plans to leave (with
989:Departure from Paris
824:
639:
549:August Wilhelm Ambros
352:Franco-Flemish School
105:Movements and schools
93:Transition to Baroque
46:
10075:Girolamo Frescobaldi
9882:CristĂłbal de Morales
9124:List of compositions
8953:(26 November 2021).
8883:Geschichte der Musik
8271:Revue de Musicologie
7791:Revue de musicologie
7455:Planchart, Alejandro
7404:Blackburn, Bonnie J.
7193:. pp. 183â199.
7067:Blackburn, Bonnie J.
6983:Leach, Elizabeth Eva
6922:; Jas, Eric (eds.).
6859:. pp. 214â252.
6809:Elders, Willem, ed.
6754:Burkholder, J. Peter
6738:. pp. 239â302.
6054:, pp. 335, 393.
5746:, pp. 130, 132.
5566:, pp. 198, 202.
4703:, pp. 193, 195.
4072:, pp. 106, 109.
3328:"record of the year"
2840:Atalante Migliorotti
2729:In te domine speravi
2563:Memor esto verbi tui
2513:Guillaume de Machaut
2355:Missa Malheur me bat
2347:Missa Malheur me bat
2267:Missa Malheur me bat
1908:appropriate means."
1690:Domine, ne in furore
1618:Praeter rerum seriem
1374:In te Domine speravi
1250:Saint-Ghislain Abbey
1192:Franchinus Gaffurius
1167:in 1539 recalls the
1156:Serafino dell'Aquila
791:Omnium bonorum plena
705:Saint-Quentin, Aisne
632:Birth and background
503:Praeter rerum seriem
10193:Florentine Camerata
10165:Composition schools
9824:Gaspar van Weerbeke
9371:Gaspar van Weerbeke
9340:Bonnie J. Blackburn
8758:Ministry of Culture
8442:Music & Letters
7750:"Johannes Ockeghem"
7479:, pp. 597â640.
7440:, pp. 335â392.
7431:, pp. 249â279.
7419:, pp. 151â210.
7098:, pp. 103â137.
7086:, pp. 181â216.
6811:New Josquin Edition
6626:, pp. 444â445.
6277:, pp. 247â248.
6190:, pp. 135â137.
5862:, pp. 159â160.
5814:, pp. 152â153.
5802:, pp. 151â152.
5734:, pp. 120â130.
5554:, pp. 197â198.
5290:, pp. 264â292.
5259:, pp. 184â185.
5223:, pp. 303â305.
5134:, pp. 276â277.
5073:, pp. 578â579.
5058:, pp. 256â259.
4995:, pp. 335â337.
4971:, pp. 484â486.
4947:, pp. 236â237.
4887:, pp. 547â548.
4875:, pp. 231â233.
4863:, pp. 449â455.
4818:, pp. 210â212.
4618:, pp. 139â140.
4558:, pp. 117â118.
4522:, pp. 112â113.
4326:, pp. 298â299.
4174:, pp. 258â259.
4033:, § "Introduction".
4014:, pp. 183â200.
3864:, p. 214, footnote.
3840:, § "Introduction".
3811:, pp. 208â215.
3651:, §9 "Reputation").
3585:New Josquin Edition
3445:, p. 37). See
3378:. The musicologist
3321:The Tallis Scholars
3219:New Josquin Edition
3207:early music revival
3039:, Lassus, Jacquet,
1620:; and the chansons
1512:based on a poem by
1504:, set to a poem by
1438:Philip I of Castile
1396:of 1547, the motet
1382:Girolamo Savonarola
1263:on the wall of the
1246:Notre-Dame de Paris
1236:Gaspar van Weerbeke
958:
952:Milan and elsewhere
811:Alejandro Planchart
615:Margaret of Austria
600:remains uncertain.
565:academic conference
563:, and a successful
545:early music revival
505:; and the chansons
142:English Virginalist
127:Florentine Camerata
10388:Thomas Vautrollier
10368:Ottaviano Petrucci
10343:Pierre Attaingnant
10333:Hieronymus Andreae
10140:Michael Praetorius
10125:Claudio Monteverdi
10115:Giovanni de Macque
10110:Luzzasco Luzzaschi
10080:Alfonso Fontanelli
9970:Francisco Guerrero
9945:Antonio de CabezĂłn
9857:Thomas Crecquillon
9839:Middle (1470â1530)
9819:Johannes Tinctoris
9759:Alexander Agricola
9667:Giovanni de Macque
9621:Thomas Crecquillon
9580:Matthaeus Pipelare
9534:Johannes Tinctoris
9519:Marbrianus de Orto
9494:Alexander Agricola
9195:Missa Pange lingua
9015:10.1093/em/caab062
8994:10.1093/em/caab078
8972:10.1093/em/caab065
8733:The New York Times
8636:Grove Music Online
8473:"Josquin des Prez"
8390:Grove Music Online
8200:Grove Music Online
8153:Die Musikforschung
8148:Pietschmann, Klaus
8108:"Josquin des Prez"
7996:Grove Music Online
7965:10.1093/mq/L.4.476
7898:Grove Music Online
7838:Grove Music Online
7623:. pp. 73â77.
7461:, pp. 89â150.
6857:Brepols Publishers
6793:Garland Publishing
6762:Palisca, Claude V.
5211:, §9 "Reputation".
4162:, pp. 13, 35.
3990:, p. 199, note 57.
3680:and Josquin's own
3649:Macey et al. (2011
3577:Missa Mater Patris
3517:Johannes de Stokem
3389:Grove Music Online
3332:Missa Pange lingua
3283:Grove Music Online
3093:
2997:Absolve, quaesumus
2993:Jheronimus Vinders
2948:
2622:
2489:
2359:Missa Mater Patris
2351:Abertijne Malcourt
2323:which is based on
2281:Missa Mater Patris
2185:Missa Pange lingua
2142:differed from the
2130:Missa Pange lingua
2059:mensuration canons
1936:
1808:
1701:
1648:Ottaviano Petrucci
1599:Missa Pange lingua
1559:Jacob van Deventer
1497:Miserere mei, Deus
1457:
1340:Philip Melanchthon
1307:
1284:notes in his 1711
1241:Marbrianus de Orto
1220:Pope Innocent VIII
1216:
1188:Johannes de Stokem
956:
830:
799:Johannes Tinctoris
760:; Josquin wrote a
741:Cardinal Richelieu
691:contends that the
645:
581:Condé-sur-l'Escaut
547:, publications by
484:Missa Pange lingua
463:Ottaviano Petrucci
443:Pope Innocent VIII
57:
10494:
10493:
10488:
10487:
10085:Giovanni Gabrieli
9912:Philippe Verdelot
9809:Johannes Ockeghem
9751:Early (1400â1470)
9734:Renaissance music
9700:
9699:
9672:Philippe de Monte
9514:Johannes Ockeghem
9509:Guillaume Faugues
9400:
9399:
9366:Johannes Ockeghem
9345:Klaus Pietschmann
9202:Missa sine nomine
8935:978-0-19-315229-8
8859:978-88-8302-220-3
8840:978-2-913575-87-5
8813:978-0-19-761966-7
8724:(29 April 2021).
8675:(subscription or
8657:978-1-56159-263-0
8614:10.1093/em/can015
8455:10.1093/ml/gcr061
8430:(subscription or
8412:978-1-56159-263-0
8350:978-1-56159-174-9
8239:(subscription or
8221:978-1-56159-263-0
8127:978-0-19-957903-7
8035:(subscription or
8017:978-1-56159-263-0
7984:; Dean, Jeffrey;
7937:(subscription or
7919:978-1-56159-263-0
7893:"Soggetto cavato"
7878:(subscription or
7860:978-1-56159-263-0
7768:978-0-19-920383-3
7640:978-2-5035-8454-6
7600:10.1093/em/can157
7565:978-3-8365-7625-3
7539:978-0-19-538481-9
7522:Taruskin, Richard
7513:978-1-85709-491-6
7488:, pp. 21â50.
7470:, pp. 11â20.
7410:, pp. 51â88.
7383:978-0-19-816335-0
7358:978-0-7858-3582-0
7306:978-0-393-30093-2
7260:978-0-393-09530-2
7234:978-0-393-09750-4
7208:978-1-107-01524-1
7173:978-2-503-50706-4
7150:978-0-8109-3581-5
7133:Marani, Pietro C.
7124:978-0-19-816669-6
7042:978-0-19-970300-5
7002:978-1-5017-0486-4
6974:978-2-503-53163-2
6939:978-90-5183-768-1
6910:978-0-88284-379-7
6888:978-2-503-56674-0
6866:978-2-86931-097-1
6840:978-90-5867-941-3
6819:978-90-6375-051-0
6802:978-0-8240-9387-7
6779:978-0-393-91829-8
6758:Grout, Donald Jay
6745:978-0-19-316303-4
6585:Macey et al. 2011
6481:, pp. 21â25.
6454:, pp. 42â43.
6239:Syson et al. 2011
6146:Syson et al. 2011
6083:Macey et al. 2011
5970:Macey et al. 2011
5641:, pp. 53â62.
5513:Macey et al. 2011
5405:Macey et al. 2011
5376:Macey et al. 2011
5336:Macey et al. 2011
5324:Macey et al. 2011
5276:Macey et al. 2011
5209:Macey et al. 2011
5120:Macey et al. 2011
5044:Macey et al. 2011
4983:, pp. 36â37.
4848:, pp. 91â93.
4734:Macey et al. 2011
4577:Macey et al. 2011
4312:Macey et al. 2011
4263:Macey et al. 2011
4123:, pp. 19â20.
4002:, pp. 11â13.
3972:Macey et al. 2011
3838:Macey et al. 2011
3767:Macey et al. 2011
3552:Bourges Cathedral
3536:, Joshua Rifkin,
3483:Dumitrescu (2009)
3422:Pierre de Ronsard
3305:Hilliard Ensemble
3277:
3276:
3122:François Rabelais
3045:Philippe de Monte
3022:George de La HĂšle
2989:Jacquet of Mantua
2899:'s fresco of the
2832:Leonardo da Vinci
2770:Leonardo da Vinci
2710:Plus nulz regretz
2667:Si j'avoye Marion
2639:
2440:portrait painting
2338:Fortuna desperata
2205:et incarnatus est
2079:Paraphrase masses
1992:Missa sine nomine
1961:Missa prolationum
1932:
1923:Missa sine nomine
1873:Paraphrase masses
1852:Josquin Companion
1765:Orlande de Lassus
1747:The musicologist
1719:. These "motivic
1668:French Revolution
1636:Plus nulz regretz
1632:Plus nulz regretz
1410:Bonitatem fecisti
1408:in many sources,
1346:and the composer
1274:
1258:
1209:
1165:Girolamo Aleandro
1161:Matthias Corvinus
1111:
1110:
1019:JuneâAugust 1484
947:Italy and travels
787:Cambrai Cathedral
750:Johannes Ockeghem
608:, he includes an
517:Plus nulz regretz
447:Pope Alexander VI
423:Matthias Corvinus
407:Cambrai Cathedral
360:Johannes Ockeghem
344:Renaissance music
330:
329:
72:Renaissance music
16:(Redirected from
10602:
10555:Josquin des Prez
10535:
10534:
10533:
10523:
10522:
10521:
10511:
10510:
10509:
10502:
10478:
10468:
10467:
10348:Vittorio Baldini
10325:Music publishing
10100:Hans Leo Hassler
10055:Gregorio Allegri
10010:Cipriano de Rore
9985:Vicente Lusitano
9980:Orlando di Lasso
9935:Jacques Arcadelt
9902:Pierre de la Rue
9897:Josquin des Prez
9877:Clément Janequin
9872:Antoine de FĂ©vin
9862:Antonius Divitis
9804:Johannes Martini
9779:Guillaume Du Fay
9727:
9720:
9713:
9704:
9703:
9657:Orlando di Lasso
9636:Cipriano de Rore
9611:Jacques Arcadelt
9595:Pierre de la Rue
9585:Josquin des Prez
9560:Antoine de FĂ©vin
9555:Antonius Divitis
9524:Johannes Prioris
9478:Johannes Pullois
9463:Guillaume Du Fay
9440:
9433:
9426:
9417:
9416:
9404:
9403:
9392:
9391:
9295:Gioseffo Zarlino
9290:Heinrich Glarean
9273:Nymphes des bois
9252:Adieu mes amours
9115:Josquin des Prez
9108:
9101:
9094:
9085:
9084:
9018:
8997:
8976:
8974:
8955:"Josquin at 500"
8939:
8922:Josquin des Prez
8918:Lowinsky, Edward
8913:
8906:Osthoff, Helmuth
8901:
8899:
8887:History of Music
8863:
8850:Josquin des Prez
8844:
8817:
8773:
8771:
8769:
8749:
8747:
8745:
8729:
8717:
8715:
8713:
8694:(14 June 2021).
8680:
8673:
8671:
8669:
8633:
8625:
8596:
8565:
8542:
8511:
8508:
8506:
8504:
8475:
8466:
8435:
8428:
8426:
8424:
8386:
8375:
8366:
8359:Brown, Howard M.
8354:
8330:
8294:
8265:
8244:
8237:
8235:
8233:
8197:
8185:
8143:
8141:
8139:
8102:
8071:
8040:
8033:
8031:
8029:
7993:
7980:Macey, Patrick;
7976:
7947:Lowinsky, Edward
7942:
7935:
7933:
7931:
7895:
7883:
7876:
7874:
7872:
7834:
7822:
7799:
7784:
7782:
7780:
7752:
7740:
7709:
7686:
7644:
7632:
7611:
7569:
7543:
7517:
7504:National Gallery
7489:
7480:
7471:
7462:
7450:
7441:
7432:
7425:Finscher, Ludwig
7420:
7411:
7399:
7397:
7395:
7362:
7333:
7310:
7289:Jessie Ann Owens
7278:
7264:
7238:
7212:
7177:
7154:
7128:
7112:
7099:
7087:
7078:
7063:Lowinsky, Edward
7058:
7056:
7054:
7018:
7016:
7014:
6978:
6955:
6953:
6951:
6914:
6892:
6870:
6844:
6806:
6783:
6749:
6733:
6702:
6696:
6690:
6684:
6678:
6672:
6666:
6660:
6654:
6648:
6639:
6633:
6627:
6621:
6615:
6609:
6603:
6597:
6588:
6582:
6571:
6565:
6559:
6553:
6547:
6541:
6530:
6524:
6518:
6512:
6506:
6500:
6494:
6488:
6482:
6476:
6470:
6464:
6455:
6449:
6443:
6437:
6431:
6425:
6419:
6413:
6407:
6401:
6395:
6389:
6383:
6377:
6371:
6365:
6359:
6353:
6344:
6338:
6329:
6323:
6317:
6311:
6305:
6299:
6293:
6287:
6278:
6272:
6266:
6260:
6254:
6248:
6242:
6236:
6230:
6224:
6218:
6212:
6203:
6197:
6191:
6185:
6179:
6173:
6164:
6158:
6149:
6143:
6137:
6131:
6125:
6119:
6113:
6107:
6101:
6095:
6086:
6080:
6067:
6061:
6055:
6049:
6043:
6037:
6024:
6018:
6012:
6006:
6000:
5994:
5985:
5979:
5973:
5967:
5950:
5944:
5938:
5932:
5926:
5920:
5914:
5908:
5902:
5896:
5890:
5884:
5875:
5869:
5863:
5857:
5851:
5845:
5839:
5833:
5827:
5821:
5815:
5809:
5803:
5797:
5791:
5785:
5774:
5768:
5759:
5753:
5747:
5741:
5735:
5729:
5723:
5717:
5702:
5696:
5690:
5684:
5678:
5672:
5666:
5660:
5654:
5648:
5642:
5636:
5630:
5624:
5618:
5612:
5606:
5600:
5594:
5588:
5579:
5573:
5567:
5561:
5555:
5549:
5543:
5537:
5531:
5525:
5516:
5510:
5469:
5463:
5452:
5443:
5432:
5426:
5420:
5414:
5408:
5402:
5391:
5385:
5379:
5373:
5358:
5352:
5339:
5333:
5327:
5321:
5310:
5304:
5291:
5285:
5279:
5273:
5260:
5254:
5248:
5242:
5236:
5230:
5224:
5218:
5212:
5206:
5159:
5153:
5147:
5141:
5135:
5129:
5123:
5117:
5098:
5092:
5086:
5080:
5074:
5068:
5059:
5053:
5047:
5041:
5032:
5026:
5020:
5014:
5008:
5002:
4996:
4990:
4984:
4978:
4972:
4966:
4960:
4954:
4948:
4942:
4936:
4930:
4924:
4918:
4912:
4906:
4900:
4894:
4888:
4882:
4876:
4870:
4864:
4858:
4849:
4843:
4834:
4828:
4819:
4813:
4807:
4801:
4792:
4786:
4780:
4774:
4768:
4762:
4749:
4743:
4737:
4731:
4704:
4698:
4692:
4686:
4680:
4674:
4663:
4657:
4646:
4643:Pietschmann 1999
4640:
4634:
4628:
4619:
4613:
4607:
4601:
4595:
4589:
4580:
4574:
4559:
4553:
4547:
4541:
4535:
4529:
4523:
4517:
4511:
4505:
4499:
4493:
4487:
4481:
4475:
4469:
4463:
4457:
4451:
4445:
4439:
4433:
4427:
4421:
4415:
4409:
4403:
4397:
4391:
4385:
4376:
4370:
4361:
4355:
4344:
4338:
4327:
4321:
4315:
4309:
4282:
4276:
4270:
4260:
4241:
4235:
4226:
4220:
4214:
4208:
4202:
4196:
4187:
4181:
4175:
4169:
4163:
4157:
4151:
4145:
4136:
4130:
4124:
4118:
4112:
4106:
4100:
4091:
4085:
4079:
4073:
4067:
4061:
4055:
4049:
4043:
4034:
4028:
4015:
4009:
4003:
3997:
3991:
3985:
3979:
3969:
3932:
3926:
3920:
3914:
3908:
3902:
3889:
3883:
3877:
3871:
3865:
3859:
3853:
3847:
3841:
3835:
3824:
3818:
3812:
3806:
3800:
3794:
3785:
3779:
3770:
3764:
3738:
3727:
3721:
3695:
3689:
3682:Nymphes des bois
3658:
3652:
3633:
3627:
3614:
3608:
3594:
3588:
3573:
3567:
3564:
3555:
3548:
3542:
3530:
3524:
3513:
3507:
3500:
3494:
3476:
3467:
3460:
3454:
3431:
3425:
3418:
3412:
3402:
3371:
3365:
3362:
3266:
3265:
3250:
3249:
3229:
3228:
3203:
3166:
3090:Heinrich Glarean
3061:Nicola Vicentino
3057:Cipriano de Rore
3038:
3014:Antoine de FĂ©vin
3005:musically quoted
2955:on the 19th and
2945:
2917:
2905:Le Puy Cathedral
2890:
2852:
2812:
2810:
2786:
2756:
2747:
2641:
2640:
2619:
2544:Dominus regnavit
2456:
2454:laisse faire moy
2432:
2428:
2377:Solmization mass
2353:. The dating of
2052:
2049:
2046:
2043:
2040:
2020:Three Blind Mice
1934:
1933:
1818:of the massâthe
1781:Richard Taruskin
1757:Jacques Arcadelt
1698:
1695:
1548:
1522:Virgo salutiferi
1502:Virgo salutiferi
1477:
1465:Johannes Martini
1434:Anne of Brittany
1355:House of Gonzaga
1329:
1326:
1323:
1320:
1317:
1272:
1256:
1207:
1180:
1146:
1143:
1055:
1040:
1034:Up to July 1484
959:
955:
933:
930:
927:
924:
921:
908:Que vous ma dame
904:Adieu mes amours
896:Que vous ma dame
879:Adieu mes amours
807:Guillaume Du Fay
772:musically quoted
767:Nymphes des bois
758:Lodovico Zacconi
754:Gioseffo Zarlino
533:Gioseffo Zarlino
529:Heinrich Glarean
439:Que vous ma dame
434:Adieu mes amours
380:his compositions
356:Guillaume Du Fay
341:
340: 1450â1455
338:
322:
315:
308:
285:â Medieval music
147:English Madrigal
80:
59:
58:
53:§ Portraits
21:
10610:
10609:
10605:
10604:
10603:
10601:
10600:
10599:
10545:
10544:
10541:
10531:
10529:
10519:
10517:
10513:Classical music
10507:
10505:
10497:
10495:
10490:
10489:
10484:
10461:
10453:
10440:
10392:
10378:Girolamo Scotto
10363:Antonio Gardano
10319:
10258:
10212:
10159:
10150:Heinrich SchĂŒtz
10145:Philippe Rogier
10095:Orlando Gibbons
10047:
10043:
10034:
10030:Giaches de Wert
10020:Christopher Tye
9975:Claude Le Jeune
9965:Claude Goudimel
9960:Nicolas Gombert
9955:Andrea Gabrieli
9950:Jacobus Clemens
9921:
9917:Adrian Willaert
9847:Martin Agricola
9833:
9769:Antoine Busnois
9764:Gilles Binchois
9745:
9736:
9731:
9701:
9696:
9692:Giaches de Wert
9682:Philippe Rogier
9662:Carolus Luython
9645:
9641:Adrian Willaert
9626:Nicolas Gombert
9599:
9538:
9482:
9473:Antoine Busnois
9468:Gilles Binchois
9449:
9444:
9409:
9401:
9396:
9382:
9377:Soggetto cavato
9349:
9325:Edward Lowinsky
9320:Helmuth Osthoff
9278:
9239:
9207:
9160:Missa Gaudeamus
9126:
9117:
9112:
9026:
9021:
9000:
8979:
8949:
8936:
8916:
8910:Josquin Desprez
8904:
8893:
8873:
8860:
8847:
8841:
8831:Josquin Desprez
8828:
8814:
8797:
8781:
8779:Further reading
8776:
8767:
8765:
8743:
8741:
8722:Woolfe, Zachary
8711:
8709:
8674:
8667:
8665:
8658:
8509:
8502:
8500:
8429:
8422:
8420:
8413:
8351:
8238:
8231:
8229:
8222:
8137:
8135:
8128:
8034:
8027:
8025:
8018:
7936:
7929:
7927:
7920:
7888:Lockwood, Lewis
7877:
7870:
7868:
7861:
7827:Lockwood, Lewis
7793:
7778:
7776:
7769:
7745:Kennedy, Michal
7641:
7572:
7566:
7540:
7514:
7393:
7391:
7384:
7359:
7349:Chartwell Books
7345:Steven Isserlis
7330:
7307:
7261:
7235:
7209:
7174:
7151:
7141:Harry N. Abrams
7125:
7115:Clarendon Press
7092:Lockwood, Lewis
7069:, eds. (1976).
7052:
7050:
7043:
7023:Lockwood, Lewis
7012:
7010:
7003:
6975:
6949:
6947:
6940:
6920:Clement, Albert
6911:
6897:Gleason, Harold
6889:
6867:
6841:
6803:
6780:
6746:
6724:Abraham, Gerald
6710:
6705:
6697:
6693:
6685:
6681:
6673:
6669:
6661:
6657:
6649:
6642:
6634:
6630:
6622:
6618:
6610:
6606:
6598:
6591:
6583:
6574:
6566:
6562:
6554:
6550:
6542:
6533:
6525:
6521:
6513:
6509:
6501:
6497:
6489:
6485:
6477:
6473:
6465:
6458:
6450:
6446:
6438:
6434:
6426:
6422:
6414:
6410:
6402:
6398:
6390:
6386:
6378:
6374:
6366:
6362:
6354:
6347:
6339:
6332:
6324:
6320:
6312:
6308:
6300:
6296:
6288:
6281:
6273:
6269:
6261:
6257:
6249:
6245:
6237:
6233:
6225:
6221:
6213:
6206:
6198:
6194:
6186:
6182:
6174:
6167:
6159:
6152:
6144:
6140:
6132:
6128:
6120:
6116:
6108:
6104:
6096:
6089:
6081:
6070:
6062:
6058:
6050:
6046:
6038:
6027:
6019:
6015:
6007:
6003:
5995:
5988:
5980:
5976:
5972:, §11 "Motets".
5968:
5953:
5945:
5941:
5933:
5929:
5921:
5917:
5909:
5905:
5897:
5893:
5885:
5878:
5870:
5866:
5858:
5854:
5846:
5842:
5834:
5830:
5822:
5818:
5810:
5806:
5798:
5794:
5786:
5777:
5769:
5762:
5754:
5750:
5742:
5738:
5730:
5726:
5718:
5705:
5697:
5693:
5685:
5681:
5673:
5669:
5661:
5657:
5649:
5645:
5637:
5633:
5625:
5621:
5613:
5609:
5601:
5597:
5589:
5582:
5574:
5570:
5562:
5558:
5550:
5546:
5538:
5534:
5526:
5519:
5511:
5472:
5464:
5455:
5444:
5435:
5427:
5423:
5415:
5411:
5403:
5394:
5386:
5382:
5378:, §12 "Masses".
5374:
5361:
5353:
5342:
5334:
5330:
5322:
5313:
5305:
5294:
5286:
5282:
5274:
5263:
5255:
5251:
5243:
5239:
5231:
5227:
5219:
5215:
5207:
5162:
5154:
5150:
5142:
5138:
5130:
5126:
5118:
5101:
5093:
5089:
5081:
5077:
5069:
5062:
5054:
5050:
5042:
5035:
5027:
5023:
5015:
5011:
5003:
4999:
4991:
4987:
4979:
4975:
4967:
4963:
4955:
4951:
4943:
4939:
4931:
4927:
4919:
4915:
4907:
4903:
4895:
4891:
4883:
4879:
4871:
4867:
4859:
4852:
4844:
4837:
4829:
4822:
4814:
4810:
4802:
4795:
4787:
4783:
4775:
4771:
4763:
4752:
4744:
4740:
4732:
4707:
4699:
4695:
4687:
4683:
4675:
4666:
4658:
4649:
4641:
4637:
4629:
4622:
4614:
4610:
4602:
4598:
4590:
4583:
4575:
4562:
4554:
4550:
4542:
4538:
4530:
4526:
4518:
4514:
4506:
4502:
4494:
4490:
4482:
4478:
4470:
4466:
4458:
4454:
4446:
4442:
4434:
4430:
4422:
4418:
4410:
4406:
4398:
4394:
4386:
4379:
4371:
4364:
4356:
4347:
4339:
4330:
4322:
4318:
4310:
4285:
4277:
4273:
4261:
4244:
4236:
4229:
4221:
4217:
4209:
4205:
4197:
4190:
4182:
4178:
4170:
4166:
4158:
4154:
4146:
4139:
4131:
4127:
4119:
4115:
4107:
4103:
4092:
4088:
4080:
4076:
4068:
4064:
4056:
4052:
4044:
4037:
4029:
4018:
4010:
4006:
3998:
3994:
3986:
3982:
3970:
3935:
3927:
3923:
3915:
3911:
3903:
3892:
3884:
3880:
3872:
3868:
3860:
3856:
3848:
3844:
3836:
3827:
3819:
3815:
3807:
3803:
3795:
3788:
3780:
3773:
3765:
3750:
3746:
3741:
3728:
3724:
3707:Lockwood (1976)
3696:
3692:
3659:
3655:
3634:
3630:
3615:
3611:
3602:Litterick (2000
3595:
3591:
3574:
3570:
3565:
3558:
3550:The chapter at
3549:
3545:
3531:
3527:
3514:
3510:
3501:
3497:
3477:
3470:
3461:
3457:
3453:for an example.
3437:and Ockeghem's
3432:
3428:
3419:
3415:
3396:
3372:
3368:
3363:
3359:
3355:
3350:
3319:(2017) survey.
3309:Orlando Consort
3263:
3247:
3232:External videos
3227:
3211:Helmuth Osthoff
3197:
3190:Friedrich Blume
3178:Alfred Einstein
3160:
3099:, and the poet
3074:
3069:
3053:Philippe Rogier
3032:
3018:Robert de FĂ©vin
2974:Nicolas Gombert
2957:Igor Stravinsky
2939:
2929:
2924:
2911:
2884:
2878:Filippo Mazzola
2846:
2807:
2792:
2791:
2790:
2789:
2788:
2780:
2774:Filippo Mazzola
2759:
2758:
2757:
2749:
2748:
2737:
2706:Nimphes, nappés
2671:Faulte d'argent
2659:
2658:
2650:
2648:
2647:
2646:
2645:
2642:
2635:
2632:
2623:
2617:
2612:
2589:-derived Latin
2475:
2431:DâCâDâCâDâFâEâD
2430:
2426:
2383:soggetto cavato
2379:
2291:
2218:
2166:Marian antiphon
2153:Missa Gaudeamus
2140:paraphrase mass
2136:
2111:
2106:Missa Gaudeamus
2089:
2081:
2050:
2047:
2044:
2041:
2008:
1956:Missae de feria
1927:
1914:
1893:soggetto cavato
1802:, a late work.
1790:
1753:Adrian Willaert
1696:
1682:
1676:
1628:Nimphes, nappés
1563:
1562:
1561:
1556:
1551:
1550:
1549:
1538:
1488:Edward Lowinsky
1478:
1475:
1453:Ercole I d'Este
1446:
1428:, a setting of
1422:In exitu Israel
1327:
1324:
1321:
1318:
1295:
1259:was found as a
1232:Ludovico Sforza
1200:
1174:
1144:
1120:House of Sforza
1116:Milan Cathedral
1086:Early May 1489
954:
949:
931:
928:
925:
922:
854:Jean Bourdichon
846:Sainte-Chapelle
838:Aix-en-Provence
819:
805:, Ockeghem and
795:Antoine Busnois
725:
634:
629:
624:
577:
561:Edward Lowinsky
557:Helmuth Osthoff
513:Nimphes, nappés
455:Ercole I d'Este
453:in France, and
339:
326:
295:
292:Baroque music â
288:
275:
274:
273:
241:
233:
232:
231:
161:
153:
152:
151:
106:
96:
95:
78:
39:
28:
23:
22:
18:Josquin Desprez
15:
12:
11:
5:
10608:
10598:
10597:
10592:
10587:
10582:
10577:
10572:
10567:
10562:
10557:
10540:
10539:
10527:
10515:
10492:
10491:
10486:
10485:
10483:
10482:
10472:
10454:
10450:Medieval music
10446:
10445:
10442:
10441:
10439:
10438:
10437:
10436:
10431:
10426:
10421:
10416:
10406:
10400:
10398:
10394:
10393:
10391:
10390:
10385:
10383:Tielman Susato
10380:
10375:
10370:
10365:
10360:
10358:Valerio Dorico
10355:
10350:
10345:
10340:
10335:
10329:
10327:
10321:
10320:
10318:
10317:
10312:
10307:
10302:
10297:
10292:
10287:
10282:
10277:
10272:
10266:
10264:
10260:
10259:
10257:
10256:
10251:
10246:
10241:
10236:
10231:
10226:
10220:
10218:
10214:
10213:
10211:
10210:
10205:
10200:
10198:Franco-Flemish
10195:
10190:
10185:
10180:
10175:
10169:
10167:
10161:
10160:
10158:
10157:
10152:
10147:
10142:
10137:
10132:
10127:
10122:
10117:
10112:
10107:
10102:
10097:
10092:
10090:Carlo Gesualdo
10087:
10082:
10077:
10072:
10067:
10062:
10060:Thomas Campion
10057:
10051:
10049:
10036:
10035:
10033:
10032:
10027:
10022:
10017:
10012:
10007:
10005:Costanzo Porta
10002:
9997:
9995:Hans Neusidler
9992:
9987:
9982:
9977:
9972:
9967:
9962:
9957:
9952:
9947:
9942:
9937:
9931:
9929:
9923:
9922:
9920:
9919:
9914:
9909:
9904:
9899:
9894:
9889:
9884:
9879:
9874:
9869:
9867:Costanzo Festa
9864:
9859:
9854:
9852:Antoine Brumel
9849:
9843:
9841:
9835:
9834:
9832:
9831:
9826:
9821:
9816:
9811:
9806:
9801:
9796:
9794:Heinrich Isaac
9791:
9786:
9784:John Dunstaple
9781:
9776:
9774:Loyset CompĂšre
9771:
9766:
9761:
9755:
9753:
9747:
9746:
9741:
9738:
9737:
9730:
9729:
9722:
9715:
9707:
9698:
9697:
9695:
9694:
9689:
9684:
9679:
9674:
9669:
9664:
9659:
9653:
9651:
9650:5th generation
9647:
9646:
9644:
9643:
9638:
9633:
9628:
9623:
9618:
9613:
9607:
9605:
9604:4th generation
9601:
9600:
9598:
9597:
9592:
9590:Jean Richafort
9587:
9582:
9577:
9572:
9567:
9565:Heinrich Isaac
9562:
9557:
9552:
9550:Antoine Brumel
9546:
9544:
9543:3rd generation
9540:
9539:
9537:
9536:
9531:
9529:Johannes Regis
9526:
9521:
9516:
9511:
9506:
9504:Firminus Caron
9501:
9499:Loyset CompĂšre
9496:
9490:
9488:
9487:2nd generation
9484:
9483:
9481:
9480:
9475:
9470:
9465:
9459:
9457:
9455:1st generation
9451:
9450:
9443:
9442:
9435:
9428:
9420:
9414:
9411:
9410:
9398:
9397:
9387:
9384:
9383:
9381:
9380:
9373:
9368:
9363:
9357:
9355:
9351:
9350:
9348:
9347:
9342:
9337:
9332:
9327:
9322:
9317:
9312:
9310:Albert Smijers
9307:
9302:
9300:Angelo Berardi
9297:
9292:
9286:
9284:
9280:
9279:
9277:
9276:
9269:
9262:
9255:
9247:
9245:
9241:
9240:
9238:
9237:
9230:
9223:
9215:
9213:
9209:
9208:
9206:
9205:
9198:
9191:
9184:
9177:
9170:
9163:
9156:
9149:
9142:
9139:Missa ad fugam
9134:
9132:
9128:
9127:
9122:
9119:
9118:
9111:
9110:
9103:
9096:
9088:
9082:
9081:
9072:
9062:
9051:
9050:
9044:
9043:
9034:
9025:
9024:External links
9022:
9020:
9019:
9009:(4): 473â497.
8998:
8988:(4): 617â621.
8977:
8965:(4): 471â472.
8951:Fallows, David
8946:
8945:
8941:
8940:
8934:
8914:
8902:
8870:
8869:
8865:
8864:
8858:
8845:
8839:
8825:
8824:
8820:
8819:
8818:
8812:
8780:
8777:
8775:
8774:
8750:
8718:
8701:The New Yorker
8687:
8686:
8682:
8681:
8656:
8626:
8608:(2): 203â215.
8597:
8585:10.2307/764097
8579:(3): 319â357.
8566:
8543:
8531:10.2307/763903
8512:
8467:
8449:(3): 437â461.
8436:
8411:
8378:
8377:
8376:
8367:
8361:"Chanson". In
8349:
8337:, ed. (1980).
8335:Sadie, Stanley
8331:
8313:(2): 239â350.
8299:Rifkin, Joshua
8295:
8283:10.2307/947006
8266:
8245:
8220:
8186:
8160:(2): 204â207.
8144:
8126:
8103:
8085:(4): 544â583.
8072:
8060:10.2307/764140
8054:(2): 200â226.
8041:
8016:
7986:Reese, Gustave
7977:
7959:(4): 476â495.
7943:
7918:
7884:
7859:
7823:
7811:10.2307/947243
7805:(1): 145â150.
7785:
7767:
7741:
7723:(3): 443â510.
7710:
7700:(2): 264â292.
7687:
7649:Fallows, David
7645:
7639:
7612:
7580:
7579:
7578:
7571:
7570:
7564:
7548:Zöllner, Frank
7544:
7538:
7518:
7512:
7492:
7491:
7490:
7481:
7472:
7463:
7451:
7442:
7433:
7421:
7412:
7382:
7363:
7357:
7334:
7328:
7311:
7305:
7285:Lewis Lockwood
7269:Reese, Gustave
7265:
7259:
7243:Reese, Gustave
7239:
7233:
7217:Reese, Gustave
7213:
7207:
7178:
7172:
7155:
7149:
7129:
7123:
7102:
7101:
7100:
7088:
7059:
7041:
7019:
7001:
6979:
6973:
6956:
6938:
6915:
6909:
6893:
6887:
6875:Fallows, David
6871:
6865:
6849:Fallows, David
6845:
6839:
6822:
6807:
6801:
6784:
6778:
6750:
6744:
6718:
6717:
6716:
6709:
6706:
6704:
6703:
6691:
6679:
6667:
6665:, p. 444.
6655:
6640:
6628:
6616:
6604:
6589:
6572:
6560:
6548:
6546:, p. 455.
6531:
6529:, p. 454.
6519:
6507:
6505:, p. 472.
6495:
6493:, p. 200.
6483:
6471:
6469:, p. 193.
6456:
6444:
6432:
6430:, p. 229.
6420:
6408:
6406:, p. 304.
6396:
6394:, p. 358.
6384:
6372:
6360:
6345:
6343:, p. 349.
6330:
6318:
6306:
6294:
6279:
6267:
6265:, p. 245.
6255:
6253:, p. 244.
6243:
6231:
6219:
6217:, p. 137.
6204:
6202:, p. 164.
6192:
6180:
6178:, p. 135.
6165:
6163:, p. 225.
6150:
6138:
6126:
6114:
6102:
6087:
6068:
6056:
6052:Litterick 2000
6044:
6042:, p. 336.
6040:Litterick 2000
6025:
6023:, p. 305.
6013:
6011:, p. 246.
6001:
5999:, p. 249.
5986:
5984:, p. 290.
5974:
5951:
5949:, p. 284.
5939:
5937:, p. 282.
5927:
5925:, p. 249.
5915:
5913:, p. 251.
5903:
5891:
5887:Blackburn 2000
5876:
5864:
5852:
5850:, p. 240.
5840:
5838:, p. 185.
5828:
5826:, p. 165.
5816:
5804:
5792:
5790:, p. 151.
5775:
5773:, p. 152.
5760:
5758:, p. 142.
5756:Planchart 2000
5748:
5744:Planchart 2000
5736:
5732:Planchart 2000
5724:
5703:
5701:, p. 109.
5699:Planchart 2000
5691:
5687:Planchart 2000
5679:
5675:Planchart 2000
5667:
5663:Blackburn 2000
5655:
5651:Blackburn 2000
5643:
5639:Blackburn 2000
5631:
5619:
5615:Blackburn 2000
5607:
5605:, p. 206.
5595:
5593:, p. 204.
5580:
5568:
5556:
5544:
5542:, p. 197.
5532:
5530:, p. 196.
5517:
5470:
5453:
5433:
5421:
5409:
5392:
5380:
5359:
5340:
5328:
5311:
5292:
5280:
5261:
5249:
5247:, p. 273.
5237:
5235:, p. 347.
5225:
5213:
5160:
5148:
5146:, p. 277.
5136:
5124:
5099:
5087:
5085:, p. 259.
5075:
5060:
5048:
5033:
5031:, p. 307.
5021:
5019:, p. 184.
5009:
4997:
4985:
4973:
4961:
4949:
4937:
4925:
4923:, p. 238.
4913:
4901:
4899:, p. 235.
4889:
4877:
4865:
4850:
4835:
4833:, p. 196.
4820:
4808:
4806:, p. 155.
4793:
4791:, p. 204.
4781:
4779:, p. 203.
4769:
4767:, p. 194.
4750:
4748:, p. 191.
4738:
4705:
4693:
4691:, p. 174.
4681:
4664:
4662:, p. 173.
4647:
4645:, p. 204.
4635:
4633:, p. 171.
4620:
4608:
4606:, p. 141.
4596:
4594:, p. 139.
4581:
4560:
4548:
4546:, p. 115.
4536:
4534:, p. 113.
4524:
4512:
4510:, p. 145.
4500:
4498:, p. 112.
4488:
4476:
4464:
4452:
4450:, p. 305.
4440:
4438:, p. 111.
4428:
4426:, p. 110.
4416:
4414:, p. 109.
4404:
4402:, p. 524.
4392:
4390:, p. 118.
4377:
4375:, p. 106.
4362:
4360:, p. 105.
4345:
4343:, p. 351.
4328:
4316:
4283:
4281:, p. 428.
4271:
4242:
4238:Planchart 2004
4227:
4215:
4203:
4188:
4176:
4164:
4152:
4137:
4125:
4113:
4101:
4086:
4074:
4062:
4050:
4048:, p. 241.
4035:
4016:
4004:
3992:
3980:
3933:
3921:
3919:, p. 448.
3909:
3890:
3888:, p. 306.
3878:
3866:
3854:
3842:
3825:
3813:
3801:
3786:
3771:
3747:
3745:
3742:
3740:
3739:
3731:Urquhart (2000
3722:
3703:Kellman (1976)
3699:Fallows (1996)
3690:
3653:
3628:
3609:
3589:
3568:
3556:
3543:
3534:Lewis Lockwood
3532:Fallows cites
3525:
3508:
3495:
3468:
3455:
3447:Finscher (2000
3426:
3413:
3394:Nanie Bridgman
3366:
3356:
3354:
3351:
3349:
3346:
3275:
3274:
3259:
3258:
3243:
3242:
3234:
3233:
3226:
3223:
3186:Albert Smijers
3150:Charles Burney
3142:Angelo Berardi
3114:Cosimo Bartoli
3073:
3070:
3068:
3065:
3063:and Willaert.
3055:, Palestrina,
3041:Claudio Merulo
3026:Lupus Hellinck
3001:Jean Richafort
2981:Tielman Susato
2970:Jean Lhéritier
2928:
2925:
2923:
2920:
2857:"), "Cantuz" (
2761:
2760:
2751:
2750:
2742:
2741:
2740:
2739:
2738:
2736:
2733:
2649:
2643:
2633:
2626:
2625:
2624:
2615:
2614:
2613:
2611:
2608:
2517:John Dunstaple
2495:settings with
2474:
2471:
2378:
2375:
2363:Antoine Brumel
2329:Tout a par moy
2289:
2288:
2278:
2264:
2258:
2248:
2238:
2219:
2217:
2214:
2193:Thomas Aquinas
2134:
2133:
2126:
2118:
2117:
2110:
2109:
2102:
2096:
2095:
2082:
2080:
2077:
2007:
2001:
1997:Missa ad fugam
1983:pitch interval
1978:Missa ad fugam
1966:Missa ad fugam
1942:, CompĂšre and
1913:
1912:Canonic masses
1910:
1897:
1896:
1891:masses, named
1886:
1880:
1870:
1862:
1789:
1786:
1675:
1672:
1553:
1552:
1543:
1542:
1541:
1540:
1539:
1537:
1534:
1506:Ercole Strozzi
1473:
1445:
1442:
1294:
1291:
1265:Sistine Chapel
1212:Sistine Chapel
1199:
1196:
1140:to this time,
1109:
1108:
1105:
1098:
1094:
1093:
1090:
1087:
1083:
1082:
1079:
1076:
1072:
1071:
1068:
1065:
1064:1485 â ?
1061:
1060:
1057:
1050:
1046:
1045:
1042:
1035:
1031:
1030:
1027:
1020:
1016:
1015:
1012:
1009:
1005:
1004:
1001:
998:
994:
993:
990:
987:
983:
982:
979:
974:
970:
969:
966:
963:
953:
950:
948:
945:
888:Et trop penser
862:Ascanio Sforza
818:
815:
803:Johannes Regis
724:
721:
654:Heinrich Isaac
650:Loyset CompĂšre
633:
630:
628:
625:
623:
620:
576:
573:
553:Albert Smijers
419:Ascanio Sforza
328:
327:
325:
324:
317:
310:
302:
299:
298:
297:
296:
289:
282:
277:
276:
272:
271:
266:
261:
256:
249:
243:
242:
239:
238:
235:
234:
230:
229:
224:
219:
214:
209:
204:
199:
194:
189:
184:
179:
174:
169:
163:
162:
159:
158:
155:
154:
150:
149:
144:
139:
134:
129:
124:
119:
117:Franco-Flemish
114:
108:
107:
104:
103:
100:
99:
98:
97:
87:
82:
81:
75:
74:
68:
67:
26:
9:
6:
4:
3:
2:
10607:
10596:
10593:
10591:
10588:
10586:
10583:
10581:
10578:
10576:
10573:
10571:
10568:
10566:
10563:
10561:
10558:
10556:
10553:
10552:
10550:
10543:
10538:
10528:
10526:
10516:
10514:
10504:
10503:
10500:
10481:
10477:
10473:
10471:
10463:
10462:
10459:
10458:
10457:Baroque music
10452:
10451:
10443:
10435:
10432:
10430:
10427:
10425:
10422:
10420:
10417:
10415:
10412:
10411:
10410:
10407:
10405:
10402:
10401:
10399:
10395:
10389:
10386:
10384:
10381:
10379:
10376:
10374:
10371:
10369:
10366:
10364:
10361:
10359:
10356:
10354:
10351:
10349:
10346:
10344:
10341:
10339:
10338:Andrea Antico
10336:
10334:
10331:
10330:
10328:
10326:
10322:
10316:
10313:
10311:
10308:
10306:
10303:
10301:
10298:
10296:
10293:
10291:
10288:
10286:
10283:
10281:
10278:
10276:
10273:
10271:
10268:
10267:
10265:
10261:
10255:
10252:
10250:
10247:
10245:
10242:
10240:
10237:
10235:
10232:
10230:
10227:
10225:
10222:
10221:
10219:
10217:Musical forms
10215:
10209:
10206:
10204:
10201:
10199:
10196:
10194:
10191:
10189:
10186:
10184:
10181:
10179:
10176:
10174:
10171:
10170:
10168:
10166:
10162:
10156:
10153:
10151:
10148:
10146:
10143:
10141:
10138:
10136:
10133:
10131:
10130:Thomas Morley
10128:
10126:
10123:
10121:
10120:Luca Marenzio
10118:
10116:
10113:
10111:
10108:
10106:
10103:
10101:
10098:
10096:
10093:
10091:
10088:
10086:
10083:
10081:
10078:
10076:
10073:
10071:
10068:
10066:
10063:
10061:
10058:
10056:
10053:
10052:
10050:
10046:
10041:
10037:
10031:
10028:
10026:
10023:
10021:
10018:
10016:
10015:Thomas Tallis
10013:
10011:
10008:
10006:
10003:
10001:
9998:
9996:
9993:
9991:
9988:
9986:
9983:
9981:
9978:
9976:
9973:
9971:
9968:
9966:
9963:
9961:
9958:
9956:
9953:
9951:
9948:
9946:
9943:
9941:
9938:
9936:
9933:
9932:
9930:
9928:
9924:
9918:
9915:
9913:
9910:
9908:
9907:John Taverner
9905:
9903:
9900:
9898:
9895:
9893:
9892:Jacob Obrecht
9890:
9888:
9885:
9883:
9880:
9878:
9875:
9873:
9870:
9868:
9865:
9863:
9860:
9858:
9855:
9853:
9850:
9848:
9845:
9844:
9842:
9840:
9836:
9830:
9827:
9825:
9822:
9820:
9817:
9815:
9812:
9810:
9807:
9805:
9802:
9800:
9797:
9795:
9792:
9790:
9787:
9785:
9782:
9780:
9777:
9775:
9772:
9770:
9767:
9765:
9762:
9760:
9757:
9756:
9754:
9752:
9748:
9744:
9739:
9735:
9728:
9723:
9721:
9716:
9714:
9709:
9708:
9705:
9693:
9690:
9688:
9685:
9683:
9680:
9678:
9677:Jacob Regnart
9675:
9673:
9670:
9668:
9665:
9663:
9660:
9658:
9655:
9654:
9652:
9648:
9642:
9639:
9637:
9634:
9632:
9629:
9627:
9624:
9622:
9619:
9617:
9614:
9612:
9609:
9608:
9606:
9602:
9596:
9593:
9591:
9588:
9586:
9583:
9581:
9578:
9576:
9575:Jacob Obrecht
9573:
9571:
9568:
9566:
9563:
9561:
9558:
9556:
9553:
9551:
9548:
9547:
9545:
9541:
9535:
9532:
9530:
9527:
9525:
9522:
9520:
9517:
9515:
9512:
9510:
9507:
9505:
9502:
9500:
9497:
9495:
9492:
9491:
9489:
9485:
9479:
9476:
9474:
9471:
9469:
9466:
9464:
9461:
9460:
9458:
9456:
9452:
9448:
9441:
9436:
9434:
9429:
9427:
9422:
9421:
9418:
9412:
9405:
9395:
9385:
9379:
9378:
9374:
9372:
9369:
9367:
9364:
9362:
9359:
9358:
9356:
9352:
9346:
9343:
9341:
9338:
9336:
9335:David Fallows
9333:
9331:
9330:Carl Dahlhaus
9328:
9326:
9323:
9321:
9318:
9316:
9315:Gustave Reese
9313:
9311:
9308:
9306:
9303:
9301:
9298:
9296:
9293:
9291:
9288:
9287:
9285:
9281:
9275:
9274:
9270:
9268:
9267:
9266:Mille regretz
9263:
9261:
9260:
9256:
9254:
9253:
9249:
9248:
9246:
9244:Secular music
9242:
9236:
9235:
9231:
9229:
9228:
9224:
9221:
9217:
9216:
9214:
9210:
9204:
9203:
9199:
9197:
9196:
9192:
9190:
9189:
9185:
9183:
9182:
9178:
9176:
9175:
9171:
9169:
9168:
9164:
9162:
9161:
9157:
9155:
9154:
9153:Missa Di dadi
9150:
9148:
9147:
9143:
9141:
9140:
9136:
9135:
9133:
9129:
9125:
9120:
9116:
9109:
9104:
9102:
9097:
9095:
9090:
9089:
9086:
9080:
9076:
9073:
9070:
9066:
9063:
9060:
9056:
9053:
9052:
9049:
9046:
9045:
9042:
9038:
9035:
9032:
9028:
9027:
9016:
9012:
9008:
9004:
8999:
8995:
8991:
8987:
8983:
8978:
8973:
8968:
8964:
8960:
8956:
8952:
8948:
8947:
8943:
8942:
8937:
8931:
8927:
8923:
8919:
8915:
8911:
8908:(1962â1965).
8907:
8903:
8897:
8892:
8888:
8884:
8880:
8876:
8872:
8871:
8867:
8866:
8861:
8855:
8851:
8846:
8842:
8836:
8832:
8827:
8826:
8823:Short studies
8822:
8821:
8815:
8809:
8805:
8801:
8796:
8795:
8794:
8793:
8791:
8787:
8786:Fallows (2020
8763:
8759:
8755:
8751:
8739:
8735:
8734:
8728:
8723:
8719:
8707:
8703:
8702:
8697:
8693:
8689:
8688:
8684:
8683:
8678:
8663:
8659:
8653:
8649:
8645:
8641:
8637:
8632:
8631:"Parody mass"
8627:
8623:
8619:
8615:
8611:
8607:
8603:
8598:
8594:
8590:
8586:
8582:
8578:
8574:
8573:
8567:
8563:
8559:
8556:(1/2): 3â27.
8555:
8551:
8550:
8544:
8540:
8536:
8532:
8528:
8524:
8520:
8519:
8513:
8498:
8494:
8490:
8486:
8482:
8480:
8474:
8468:
8464:
8460:
8456:
8452:
8448:
8444:
8443:
8437:
8433:
8418:
8414:
8408:
8404:
8400:
8396:
8392:
8391:
8385:
8379:
8373:
8368:
8364:
8360:
8356:
8355:
8352:
8346:
8342:
8341:
8336:
8332:
8328:
8324:
8320:
8316:
8312:
8308:
8304:
8300:
8296:
8292:
8288:
8284:
8280:
8276:
8272:
8267:
8263:
8259:
8255:
8251:
8246:
8242:
8227:
8223:
8217:
8213:
8209:
8205:
8201:
8196:
8191:
8187:
8183:
8179:
8175:
8171:
8167:
8163:
8159:
8156:(in German).
8155:
8154:
8149:
8145:
8133:
8129:
8123:
8119:
8115:
8114:
8109:
8104:
8100:
8096:
8092:
8088:
8084:
8080:
8079:
8073:
8069:
8065:
8061:
8057:
8053:
8049:
8048:
8042:
8038:
8023:
8019:
8013:
8009:
8005:
8001:
7997:
7992:
7987:
7983:
7982:Noble, Jeremy
7978:
7974:
7970:
7966:
7962:
7958:
7954:
7953:
7948:
7944:
7940:
7925:
7921:
7915:
7911:
7907:
7903:
7899:
7894:
7889:
7885:
7881:
7866:
7862:
7856:
7852:
7848:
7844:
7840:
7839:
7833:
7828:
7824:
7820:
7816:
7812:
7808:
7804:
7801:(in French).
7800:
7797:
7792:
7786:
7774:
7770:
7764:
7760:
7756:
7751:
7746:
7742:
7738:
7734:
7730:
7726:
7722:
7718:
7717:
7711:
7707:
7703:
7699:
7695:
7694:
7688:
7684:
7680:
7676:
7672:
7668:
7664:
7660:
7656:
7655:
7650:
7646:
7642:
7636:
7631:
7626:
7622:
7618:
7613:
7609:
7605:
7601:
7597:
7593:
7589:
7588:
7582:
7581:
7577:
7574:
7573:
7567:
7561:
7557:
7553:
7549:
7545:
7541:
7535:
7531:
7527:
7523:
7519:
7515:
7509:
7505:
7501:
7497:
7493:
7487:
7482:
7478:
7473:
7469:
7464:
7460:
7456:
7452:
7448:
7443:
7439:
7434:
7430:
7426:
7422:
7418:
7413:
7409:
7405:
7401:
7400:
7389:
7385:
7379:
7375:
7371:
7370:
7364:
7360:
7354:
7350:
7346:
7343:. Preface by
7342:
7341:
7335:
7331:
7329:0-8153-3521-0
7325:
7321:
7317:
7312:
7308:
7302:
7298:
7297:Joseph Kerman
7294:
7290:
7286:
7282:
7277:
7276:
7270:
7266:
7262:
7256:
7252:
7248:
7244:
7240:
7236:
7230:
7226:
7222:
7218:
7214:
7210:
7204:
7200:
7196:
7192:
7189:. Cambridge:
7188:
7184:
7179:
7175:
7169:
7165:
7161:
7156:
7152:
7146:
7142:
7138:
7134:
7130:
7126:
7120:
7116:
7111:
7110:
7103:
7097:
7093:
7089:
7085:
7080:
7079:
7076:
7072:
7068:
7064:
7060:
7048:
7044:
7038:
7034:
7030:
7029:
7024:
7020:
7008:
7004:
6998:
6994:
6990:
6989:
6984:
6980:
6976:
6970:
6966:
6962:
6957:
6945:
6941:
6935:
6931:
6928:. Amsterdam:
6927:
6926:
6921:
6916:
6912:
6906:
6902:
6898:
6894:
6890:
6884:
6880:
6876:
6872:
6868:
6862:
6858:
6854:
6850:
6846:
6842:
6836:
6832:
6828:
6823:
6820:
6816:
6812:
6808:
6804:
6798:
6794:
6790:
6785:
6781:
6775:
6771:
6767:
6763:
6759:
6755:
6751:
6747:
6741:
6737:
6732:
6731:
6725:
6720:
6719:
6715:
6712:
6711:
6700:
6695:
6688:
6683:
6676:
6671:
6664:
6659:
6653:, p. 32.
6652:
6647:
6645:
6637:
6632:
6625:
6620:
6613:
6608:
6601:
6596:
6594:
6586:
6581:
6579:
6577:
6570:, p. 28.
6569:
6564:
6557:
6556:Lowinsky 1964
6552:
6545:
6540:
6538:
6536:
6528:
6523:
6517:, p. 41.
6516:
6511:
6504:
6499:
6492:
6487:
6480:
6475:
6468:
6463:
6461:
6453:
6448:
6441:
6440:Taruskin 2010
6436:
6429:
6424:
6418:, p. 31.
6417:
6412:
6405:
6400:
6393:
6388:
6382:, p. 30.
6381:
6376:
6369:
6364:
6357:
6356:Taruskin 2010
6352:
6350:
6342:
6337:
6335:
6327:
6322:
6316:, p. 29.
6315:
6310:
6304:, p. 16.
6303:
6298:
6291:
6286:
6284:
6276:
6271:
6264:
6259:
6252:
6247:
6241:, p. 97.
6240:
6235:
6229:, p. 75.
6228:
6223:
6216:
6211:
6209:
6201:
6196:
6189:
6184:
6177:
6172:
6170:
6162:
6157:
6155:
6148:, p. 95.
6147:
6142:
6136:, p. 28.
6135:
6130:
6124:, p. 92.
6123:
6118:
6112:, p. 91.
6111:
6106:
6100:, p. 27.
6099:
6094:
6092:
6084:
6079:
6077:
6075:
6073:
6065:
6060:
6053:
6048:
6041:
6036:
6034:
6032:
6030:
6022:
6017:
6010:
6005:
5998:
5993:
5991:
5983:
5978:
5971:
5966:
5964:
5962:
5960:
5958:
5956:
5948:
5943:
5936:
5931:
5924:
5923:Finscher 2000
5919:
5912:
5911:Finscher 2000
5907:
5900:
5899:Lockwood 2001
5895:
5889:, p. 78.
5888:
5883:
5881:
5873:
5872:Lockwood 2001
5868:
5861:
5856:
5849:
5844:
5837:
5832:
5825:
5820:
5813:
5808:
5801:
5796:
5789:
5784:
5782:
5780:
5772:
5767:
5765:
5757:
5752:
5745:
5740:
5733:
5728:
5721:
5716:
5714:
5712:
5710:
5708:
5700:
5695:
5688:
5683:
5677:, p. 89.
5676:
5671:
5665:, p. 64.
5664:
5659:
5653:, p. 63.
5652:
5647:
5640:
5635:
5628:
5627:Taruskin 2010
5623:
5617:, p. 72.
5616:
5611:
5604:
5599:
5592:
5587:
5585:
5577:
5576:Urquhart 2012
5572:
5565:
5560:
5553:
5548:
5541:
5536:
5529:
5524:
5522:
5514:
5509:
5507:
5505:
5503:
5501:
5499:
5497:
5495:
5493:
5491:
5489:
5487:
5485:
5483:
5481:
5479:
5477:
5475:
5467:
5466:Lockwood 2001
5462:
5460:
5458:
5450:
5448:
5442:
5440:
5438:
5430:
5425:
5419:, p. ix.
5418:
5413:
5406:
5401:
5399:
5397:
5389:
5384:
5377:
5372:
5370:
5368:
5366:
5364:
5356:
5355:Taruskin 2010
5351:
5349:
5347:
5345:
5337:
5332:
5325:
5320:
5318:
5316:
5308:
5303:
5301:
5299:
5297:
5289:
5284:
5277:
5272:
5270:
5268:
5266:
5258:
5253:
5246:
5245:Finscher 2000
5241:
5234:
5229:
5222:
5217:
5210:
5205:
5203:
5201:
5199:
5197:
5195:
5193:
5191:
5189:
5187:
5185:
5183:
5181:
5179:
5177:
5175:
5173:
5171:
5169:
5167:
5165:
5157:
5152:
5145:
5140:
5133:
5128:
5121:
5116:
5114:
5112:
5110:
5108:
5106:
5104:
5096:
5095:Reynolds 2004
5091:
5084:
5079:
5072:
5067:
5065:
5057:
5052:
5045:
5040:
5038:
5030:
5025:
5018:
5013:
5007:, p. 39.
5006:
5001:
4994:
4989:
4982:
4977:
4970:
4969:Lowinsky 1964
4965:
4959:, p. 11.
4958:
4953:
4946:
4941:
4935:, p. 10.
4934:
4929:
4922:
4917:
4910:
4905:
4898:
4893:
4886:
4881:
4874:
4869:
4862:
4857:
4855:
4847:
4842:
4840:
4832:
4827:
4825:
4817:
4812:
4805:
4800:
4798:
4790:
4785:
4778:
4773:
4766:
4761:
4759:
4757:
4755:
4747:
4742:
4735:
4730:
4728:
4726:
4724:
4722:
4720:
4718:
4716:
4714:
4712:
4710:
4702:
4697:
4690:
4685:
4678:
4673:
4671:
4669:
4661:
4656:
4654:
4652:
4644:
4639:
4632:
4627:
4625:
4617:
4612:
4605:
4600:
4593:
4588:
4586:
4578:
4573:
4571:
4569:
4567:
4565:
4557:
4552:
4545:
4540:
4533:
4528:
4521:
4516:
4509:
4504:
4497:
4492:
4485:
4480:
4474:, p. 34.
4473:
4468:
4461:
4456:
4449:
4444:
4437:
4432:
4425:
4420:
4413:
4408:
4401:
4396:
4389:
4384:
4382:
4374:
4369:
4367:
4359:
4354:
4352:
4350:
4342:
4337:
4335:
4333:
4325:
4324:Lockwood 2009
4320:
4313:
4308:
4306:
4304:
4302:
4300:
4298:
4296:
4294:
4292:
4290:
4288:
4280:
4275:
4268:
4264:
4259:
4257:
4255:
4253:
4251:
4249:
4247:
4239:
4234:
4232:
4225:, p. 39.
4224:
4219:
4213:, p. 27.
4212:
4207:
4201:, p. 25.
4200:
4195:
4193:
4186:, p. 37.
4185:
4180:
4173:
4172:Finscher 2000
4168:
4161:
4156:
4149:
4144:
4142:
4135:, p. 20.
4134:
4129:
4122:
4117:
4111:, p. 19.
4110:
4105:
4098:
4096:
4090:
4083:
4078:
4071:
4066:
4059:
4054:
4047:
4046:Bridgman 1960
4042:
4040:
4032:
4027:
4025:
4023:
4021:
4013:
4008:
4001:
3996:
3989:
3984:
3977:
3973:
3968:
3966:
3964:
3962:
3960:
3958:
3956:
3954:
3952:
3950:
3948:
3946:
3944:
3942:
3940:
3938:
3930:
3925:
3918:
3913:
3907:, p. 18.
3906:
3901:
3899:
3897:
3895:
3887:
3882:
3876:, p. 52.
3875:
3870:
3863:
3858:
3852:, p. 12.
3851:
3846:
3839:
3834:
3832:
3830:
3822:
3817:
3810:
3805:
3799:, p. 17.
3798:
3793:
3791:
3784:, p. 22.
3783:
3778:
3776:
3768:
3763:
3761:
3759:
3757:
3755:
3753:
3748:
3736:
3735:Charles (1983
3732:
3726:
3720:
3716:
3712:
3708:
3704:
3700:
3694:
3687:
3683:
3679:
3675:
3671:
3667:
3663:
3657:
3650:
3646:
3645:Martin Luther
3642:
3638:
3637:Georg Forster
3632:
3625:
3621:
3620:
3613:
3607:
3606:Mille regretz
3603:
3599:
3598:Fallows (2001
3593:
3586:
3582:
3578:
3572:
3563:
3561:
3553:
3547:
3539:
3535:
3529:
3522:
3518:
3512:
3505:
3499:
3492:
3491:Rifkin (2003)
3488:
3487:Milsom (2015)
3484:
3480:
3475:
3473:
3465:
3464:Fallows (2020
3459:
3452:
3448:
3444:
3443:Fallows (2020
3440:
3436:
3430:
3423:
3417:
3410:
3406:
3400:
3395:
3391:
3390:
3385:
3381:
3380:Gustave Reese
3377:
3370:
3361:
3357:
3345:
3343:
3342:
3337:
3336:David Fallows
3333:
3329:
3327:
3322:
3318:
3314:
3310:
3306:
3302:
3297:
3294:
3289:
3285:
3284:
3273:
3269:
3260:
3257:
3253:
3244:
3241:
3240:
3235:
3230:
3222:
3220:
3216:
3215:Joseph Kerman
3212:
3208:
3204:
3201:
3196:
3191:
3187:
3183:
3182:Carl Dahlhaus
3179:
3174:
3170:
3164:
3159:
3155:
3151:
3147:
3143:
3138:
3134:
3133:Baroque music
3129:
3127:
3123:
3119:
3115:
3110:
3109:Misse Josquin
3106:
3102:
3098:
3097:Paolo Cortesi
3091:
3087:
3086:Dodecachordon
3083:
3078:
3064:
3062:
3058:
3054:
3050:
3046:
3042:
3036:
3031:
3030:Pierre Hesdin
3027:
3023:
3019:
3015:
3011:
3006:
3002:
2998:
2994:
2990:
2986:
2982:
2977:
2975:
2971:
2964:
2960:
2958:
2954:
2943:
2938:
2933:
2919:
2915:
2910:
2906:
2902:
2898:
2894:
2888:
2883:
2882:NicolĂČ Burzio
2879:
2875:
2870:
2868:
2864:
2860:
2856:
2850:
2845:
2841:
2837:
2833:
2829:
2828:
2822:
2820:
2816:
2805:
2801:
2800:Petrus Opmeer
2797:
2784:
2779:
2778:NicolĂČ Burzio
2775:
2771:
2767:
2766:
2755:
2746:
2732:
2730:
2726:
2722:
2718:
2713:
2711:
2707:
2703:
2702:Mille regretz
2699:
2695:
2691:
2687:
2683:
2679:
2674:
2672:
2668:
2664:
2663:cantus firmus
2657:
2655:
2631:
2630:
2610:Secular music
2607:
2605:
2601:
2597:
2592:
2591:cantus firmus
2588:
2584:
2580:
2579:motet-chanson
2576:
2572:
2568:
2564:
2560:
2556:
2551:
2549:
2545:
2541:
2537:
2533:
2530:
2525:
2524:cantus firmus
2520:
2518:
2514:
2510:
2506:
2505:text-painting
2502:
2498:
2494:
2486:
2485:
2479:
2470:
2468:
2464:
2460:
2455:
2450:
2449:
2443:
2441:
2436:
2424:
2420:
2416:
2412:
2408:
2404:
2400:
2396:
2395:cantus firmus
2392:
2388:
2384:
2374:
2372:
2368:
2367:cantus firmus
2364:
2360:
2356:
2352:
2348:
2344:
2340:
2339:
2334:
2330:
2326:
2322:
2318:
2314:
2313:Robert Morton
2310:
2309:
2308:Missa Di dadi
2303:
2300:
2299:cantus firmus
2296:
2286:
2282:
2279:
2276:
2272:
2268:
2265:
2262:
2259:
2256:
2252:
2249:
2246:
2242:
2239:
2236:
2232:
2231:
2230:Missa Di dadi
2227:
2226:
2225:
2224:
2216:Parody masses
2213:
2211:
2206:
2202:
2198:
2194:
2190:
2186:
2181:
2179:
2175:
2171:
2167:
2163:
2159:
2158:cantus firmus
2155:
2154:
2149:
2148:cantus firmus
2145:
2144:cantus firmus
2141:
2132:
2131:
2127:
2125:
2124:
2120:
2119:
2116:
2113:
2112:
2108:
2107:
2103:
2101:
2098:
2097:
2094:
2091:
2090:
2088:
2087:
2076:
2074:
2070:
2069:cantus firmus
2066:
2065:
2060:
2056:
2048:the armed man
2036:
2032:
2031:cantus firmus
2027:
2026:(1503â1513).
2025:
2021:
2017:
2013:
2012:cantus firmus
2005:
2004:Cantus firmus
2000:
1998:
1994:
1993:
1987:
1984:
1980:
1979:
1973:
1971:
1967:
1963:
1962:
1957:
1953:
1949:
1946:), or chant (
1945:
1941:
1925:
1924:
1918:
1909:
1906:
1905:cantus firmus
1902:
1901:cantus firmus
1894:
1890:
1887:
1884:
1883:Parody masses
1881:
1878:
1874:
1871:
1868:
1867:
1866:Cantus firmus
1863:
1860:
1857:
1856:
1855:
1853:
1848:
1844:
1841:
1837:
1833:
1829:
1825:
1821:
1817:
1813:
1805:
1801:
1800:
1794:
1785:
1782:
1778:
1774:
1770:
1766:
1762:
1758:
1754:
1750:
1745:
1743:
1742:word painting
1738:
1736:
1733:
1728:
1726:
1722:
1718:
1714:
1709:
1706:
1691:
1686:
1681:
1671:
1669:
1665:
1660:
1656:
1651:
1649:
1645:
1641:
1637:
1633:
1629:
1625:
1624:
1623:Mille regretz
1619:
1615:
1611:
1610:
1605:
1602:; the motets
1601:
1600:
1595:
1594:
1588:
1586:
1582:
1578:
1573:
1568:
1560:
1555:
1547:
1533:
1531:
1527:
1523:
1519:
1515:
1511:
1507:
1503:
1499:
1498:
1492:
1489:
1484:
1472:
1468:
1466:
1462:
1454:
1450:
1441:
1439:
1435:
1431:
1427:
1423:
1419:
1415:
1411:
1407:
1403:
1399:
1395:
1394:Dodecachordon
1390:
1385:
1383:
1379:
1375:
1371:
1370:
1365:
1364:1499 invasion
1360:
1356:
1351:
1349:
1345:
1341:
1337:
1336:vin d'honneur
1333:
1325:wine of honor
1313:
1312:vin d'honneur
1304:
1299:
1290:
1287:
1283:
1280:on occasion.
1279:
1270:
1266:
1262:
1253:
1251:
1247:
1242:
1237:
1233:
1229:
1225:
1221:
1213:
1204:
1195:
1193:
1189:
1185:
1178:
1173:
1170:
1166:
1162:
1157:
1153:
1148:
1139:
1138:
1133:
1132:Joshua Rifkin
1129:
1128:parish church
1125:
1121:
1117:
1106:
1103:
1099:
1096:
1095:
1091:
1088:
1085:
1084:
1080:
1077:
1075:JanâFeb 1489
1074:
1073:
1069:
1066:
1063:
1062:
1058:
1051:
1048:
1047:
1043:
1036:
1033:
1032:
1028:
1025:
1021:
1018:
1017:
1013:
1010:
1007:
1006:
1002:
999:
996:
995:
991:
988:
985:
984:
980:
978:
975:
972:
971:
967:
964:
961:
960:
944:
942:
937:
929:wine of honor
917:
916:vin d'honneur
911:
909:
905:
901:
897:
893:
889:
885:
881:
880:
875:
874:
869:
868:
863:
859:
855:
851:
847:
843:
839:
835:
834:René of Anjou
827:
826:René of Anjou
823:
814:
812:
808:
804:
800:
796:
792:
788:
783:
781:
777:
773:
769:
768:
763:
759:
755:
751:
746:
742:
738:
737:Gustave Reese
734:
730:
720:
718:
714:
710:
706:
702:
698:
694:
690:
689:David Fallows
686:
682:
676:
674:
670:
666:
661:
659:
658:Jacob Obrecht
655:
651:
642:
638:
619:
616:
611:
607:
601:
599:
594:
590:
586:
582:
572:
570:
566:
562:
558:
554:
550:
546:
542:
538:
534:
530:
526:
525:Martin Luther
520:
518:
514:
510:
509:
508:Mille regretz
504:
500:
496:
495:
490:
487:; the motets
486:
485:
480:
479:
474:
470:
469:
464:
460:
456:
452:
448:
444:
440:
436:
435:
430:
429:
424:
420:
416:
412:
411:René of Anjou
408:
404:
400:
395:
393:
389:
385:
381:
377:
373:
369:
365:
361:
357:
353:
349:
345:
334:
323:
318:
316:
311:
309:
304:
303:
301:
300:
294:
293:
287:
286:
281:
280:
279:
278:
270:
267:
265:
262:
260:
257:
255:
254:
250:
248:
245:
244:
237:
236:
228:
225:
223:
220:
218:
215:
213:
210:
208:
205:
203:
200:
198:
195:
193:
190:
188:
185:
183:
180:
178:
175:
173:
170:
168:
165:
164:
160:Major figures
157:
156:
148:
145:
143:
140:
138:
135:
133:
130:
128:
125:
123:
120:
118:
115:
113:
110:
109:
102:
101:
94:
90:
86:
85:
84:
83:
77:
76:
73:
70:
69:
65:
61:
60:
54:
50:
45:
41:
37:
34: and
33:
19:
10560:1450s births
10542:
10455:
10448:
10419:Architecture
10353:Jacob Bathen
10070:John Dowland
9940:William Byrd
9896:
9814:Leonel Power
9687:Jacobus Vaet
9584:
9375:
9271:
9264:
9257:
9250:
9232:
9225:
9200:
9193:
9186:
9179:
9172:
9165:
9158:
9151:
9144:
9137:
9114:
9071:(ChoralWiki)
9047:
9006:
9002:
8985:
8981:
8962:
8958:
8921:
8909:
8886:
8882:
8849:
8830:
8799:
8790:Sherr (2017)
8783:
8782:
8766:. Retrieved
8742:. Retrieved
8731:
8710:. Retrieved
8699:
8666:. Retrieved
8635:
8605:
8601:
8576:
8570:
8553:
8547:
8525:(1): 43â65.
8522:
8516:
8501:. Retrieved
8477:
8446:
8440:
8421:. Retrieved
8388:
8384:"Paraphrase"
8372:Sadie (1980)
8363:Sadie (1980)
8338:
8310:
8306:
8302:
8277:(1): 29â62.
8274:
8270:
8253:
8249:
8230:. Retrieved
8199:
8157:
8151:
8136:. Retrieved
8111:
8082:
8076:
8051:
8045:
8026:. Retrieved
7995:
7956:
7950:
7928:. Retrieved
7897:
7869:. Retrieved
7836:
7802:
7789:
7777:. Retrieved
7754:
7720:
7714:
7697:
7691:
7661:(1): 69â80.
7658:
7652:
7616:
7594:(1): 73â88.
7591:
7585:
7575:
7551:
7525:
7499:
7486:Sherr (2000)
7477:Sherr (2000)
7468:Sherr (2000)
7459:Sherr (2000)
7447:Sherr (2000)
7438:Sherr (2000)
7429:Sherr (2000)
7417:Sherr (2000)
7408:Sherr (2000)
7392:. Retrieved
7368:
7339:
7319:
7315:
7281:Jeremy Noble
7274:
7249:. New York:
7246:
7220:
7186:
7162:. Turnhout:
7159:
7139:. New York:
7136:
7108:
7070:
7051:. Retrieved
7027:
7011:. Retrieved
6987:
6964:
6948:. Retrieved
6924:
6900:
6878:
6855:. Turnhout:
6852:
6826:
6810:
6788:
6765:
6729:
6713:
6694:
6682:
6670:
6663:Higgins 2004
6658:
6631:
6624:Higgins 2004
6619:
6607:
6563:
6551:
6544:Higgins 2004
6527:Higgins 2004
6522:
6510:
6503:Higgins 2004
6498:
6486:
6474:
6467:Fallows 2020
6447:
6435:
6423:
6411:
6399:
6387:
6375:
6370:, § para. 3.
6363:
6341:Fallows 2020
6328:, § para. 1.
6321:
6309:
6297:
6275:Fallows 2020
6270:
6263:Fallows 2020
6258:
6251:Fallows 2020
6246:
6234:
6227:Fagnart 2019
6222:
6215:Fallows 2020
6195:
6188:Fallows 2020
6183:
6176:Fallows 2020
6161:Zöllner 2019
6141:
6129:
6117:
6105:
6059:
6047:
6016:
6004:
5977:
5942:
5930:
5918:
5906:
5901:, § para. 2.
5894:
5867:
5855:
5843:
5831:
5819:
5807:
5795:
5751:
5739:
5727:
5722:, § "Works".
5694:
5682:
5670:
5658:
5646:
5634:
5622:
5610:
5598:
5571:
5559:
5547:
5535:
5468:, § para. 1.
5446:
5431:, § para. 1.
5424:
5412:
5407:, § "Works".
5390:, § para. 7.
5383:
5331:
5309:, § para. 5.
5283:
5252:
5240:
5233:Fallows 2020
5228:
5216:
5151:
5144:Fallows 2020
5139:
5132:Fallows 2020
5127:
5090:
5083:Fallows 2020
5078:
5071:Merkley 2001
5056:Fallows 2020
5051:
5024:
5012:
5000:
4988:
4976:
4964:
4952:
4945:Fallows 2020
4940:
4928:
4921:Fallows 2020
4916:
4911:, p. 9.
4904:
4897:Fallows 2020
4892:
4885:Merkley 2001
4880:
4873:Fallows 2020
4868:
4846:Fallows 2020
4831:Fallows 2020
4811:
4789:Fallows 2020
4784:
4777:Fallows 2020
4772:
4765:Fallows 2020
4746:Fallows 2020
4741:
4701:Fallows 2020
4696:
4689:Fallows 2020
4684:
4660:Fallows 2020
4638:
4631:Fallows 2020
4616:Fallows 2020
4611:
4604:Fallows 2020
4599:
4592:Fallows 2020
4556:Fallows 2020
4551:
4544:Fallows 2020
4539:
4532:Fallows 2020
4527:
4520:Fallows 2020
4515:
4503:
4496:Fallows 2020
4491:
4484:Fallows 2020
4479:
4467:
4455:
4443:
4436:Fallows 2020
4431:
4424:Fallows 2020
4419:
4412:Fallows 2020
4407:
4400:Fallows 2020
4395:
4388:Fallows 2020
4373:Fallows 2020
4358:Fallows 2020
4341:Fallows 2020
4319:
4274:
4269:1475â1483)".
4266:
4223:Fallows 2020
4218:
4211:Fallows 2020
4206:
4199:Fallows 2020
4184:Fallows 2020
4179:
4167:
4160:Fallows 2020
4155:
4150:, p. 3.
4133:Fallows 2020
4128:
4121:Fallows 2020
4116:
4109:Fallows 2020
4104:
4094:
4089:
4077:
4065:
4060:, p. 2.
4053:
4012:Kellman 2009
4007:
4000:Fallows 2020
3995:
3988:Kellman 2009
3983:
3975:
3931:, p. 8.
3929:Fallows 2020
3924:
3917:Higgins 2004
3912:
3905:Fallows 2020
3886:Fallows 2020
3881:
3874:Fallows 2020
3869:
3857:
3850:Fallows 2020
3845:
3823:, p. 9.
3821:Fallows 2020
3816:
3804:
3725:
3719:Starr (1997)
3693:
3681:
3673:
3669:
3656:
3641:Elders (2013
3631:
3624:§Attribution
3617:
3612:
3605:
3592:
3584:
3580:
3576:
3571:
3546:
3538:Jeremy Noble
3528:
3521:Starr (1997)
3511:
3504:Elders (2013
3498:
3478:
3458:
3438:
3434:
3429:
3416:
3387:
3384:Jeremy Noble
3369:
3360:
3339:
3331:
3325:
3316:
3298:
3293:apotheosized
3287:
3281:
3278:
3272:Stile Antico
3237:
3218:
3205:series. The
3195:Das Chorwerk
3193:
3130:
3126:Michelangelo
3108:
3101:Jean Molinet
3094:
3085:
3081:
3049:Pierre Moulu
2996:
2978:
2966:
2962:
2949:
2901:liberal arts
2897:Jean Perréal
2892:
2871:
2866:
2825:
2823:
2803:
2793:
2763:
2728:
2724:
2720:
2714:
2709:
2705:
2701:
2697:
2693:
2678:formes fixes
2677:
2675:
2670:
2666:
2662:
2660:
2651:
2628:
2603:
2599:
2595:
2590:
2583:formes fixes
2582:
2571:De profundis
2570:
2562:
2554:
2552:
2543:
2539:
2535:
2523:
2521:
2497:block chords
2490:
2482:
2446:
2444:
2434:
2422:
2418:
2414:
2410:
2406:
2402:
2398:
2394:
2390:
2386:
2382:
2380:
2370:
2366:
2358:
2354:
2346:
2343:cantus firmi
2342:
2336:
2332:
2328:
2320:
2306:
2304:
2298:
2294:
2292:
2280:
2266:
2260:
2250:
2240:
2228:
2222:
2221:
2209:
2204:
2184:
2182:
2173:
2161:
2157:
2151:
2147:
2143:
2137:
2128:
2121:
2114:
2104:
2099:
2092:
2085:
2084:
2073:L'homme armé
2072:
2068:
2062:
2054:
2035:L'homme armé
2030:
2028:
2015:
2011:
2009:
2003:
1996:
1990:
1988:
1976:
1974:
1965:
1959:
1955:
1937:
1921:
1904:
1900:
1898:
1864:
1851:
1849:
1845:
1809:
1803:
1797:
1749:Jeremy Noble
1746:
1739:
1729:
1725:contrapuntal
1710:
1702:
1692:was written
1689:
1655:Pater noster
1654:
1652:
1635:
1631:
1627:
1621:
1617:
1613:
1607:
1604:Benedicta es
1603:
1597:
1591:
1589:
1564:
1525:
1521:
1517:
1509:
1501:
1495:
1493:
1480:
1470:
1458:
1426:De profundis
1425:
1421:
1417:
1409:
1405:
1401:
1397:
1393:
1386:
1373:
1367:
1359:hunting dogs
1352:
1335:
1331:
1311:
1308:
1285:
1278:mononymously
1268:
1254:
1228:Alexander VI
1217:
1149:
1135:
1112:
1022:Milan (with
1008:15 May 1484
986:August 1483
941:Ludwig Senfl
915:
912:
907:
903:
899:
895:
891:
887:
883:
877:
871:
865:
849:
831:
817:Early career
790:
784:
779:
775:
765:
726:
716:
677:
662:
646:
618:as Josquin.
605:
602:
578:
521:
516:
512:
506:
502:
498:
492:
489:Benedicta es
488:
482:
476:
466:
441:. He served
438:
432:
426:
396:
390:and secular
332:
331:
290:
283:
251:
191:
91: /
40:
10565:1521 deaths
10409:Renaissance
10404:Early music
10300:Netherlands
10280:Elizabethan
10135:Jacopo Peri
10105:Alonso Lobo
10065:John Cooper
9927:Late (1530)
9887:Jean Mouton
9799:Jean Japart
9789:Walter Frye
9570:Jean Mouton
9037:Discography
9003:Early Music
8982:Early Music
8959:Early Music
8894: [
8602:Early Music
7794: [
7587:Early Music
7496:Syson, Luke
6699:Woolfe 2021
6568:Wegman 2000
6515:Elders 2013
6479:Wegman 2000
6452:Elders 2013
6428:Elders 2013
6380:Elders 2013
6368:Milsom 2011
6326:Milsom 2011
6314:Elders 2013
6200:Marani 2003
6134:Elders 2013
6098:Elders 2013
6021:Milsom 2000
5982:Milsom 2000
5947:Milsom 2000
5935:Milsom 2000
5860:Bloxam 2000
5836:Bloxam 2000
5824:Bloxam 2000
5812:Bloxam 2000
5800:Bloxam 2000
5788:Bloxam 2000
5771:Bloxam 2000
5603:Bloxam 2000
5591:Bloxam 2000
5564:Bloxam 2000
5552:Bloxam 2000
5540:Bloxam 2000
5528:Bloxam 2000
5307:Milsom 2011
5221:Milsom 2000
5029:Milsom 2000
5005:Wegman 2000
4993:Wegman 1999
4981:Wegman 2000
4816:Wegman 2008
4508:KirĂĄly 1992
4472:Elders 2013
4448:Rifkin 2003
4082:Milsom 2011
3797:Elders 2013
3782:Wegman 2000
3715:Roth (2000)
3676:(1460) for
3639:in 1540 by
3397: [
3268:Performance
3252:Performance
3198: [
3161: [
3105:Pietro Aron
3033: [
3003:'s requiem
2987:, Gombert,
2940: [
2912: [
2885: [
2855:Contratenor
2847: [
2819:iconoclasts
2811: 1568
2781: [
2762:(Left) The
2694:Vive le roy
2565:, based on
2532:expositions
2429:, which is
2325:Walter Frye
2187:, based on
2115:Later works
2093:Early works
1889:Solmization
1697: 1480
1418:Vive le roy
1184:Josquin Dor
1175: [
1145: 1485
1102:Papal choir
1037:Rome (with
997:March 1484
973:March 1483
968:Confidence
936:procurators
762:lamentation
745:Jean Mouton
673:undue force
537:Baroque era
348:Renaissance
240:Major forms
10549:Categories
10434:Philosophy
10429:Literature
10397:Background
10263:Traditions
10239:Magnificat
10229:Intermedio
10173:Burgundian
8924:. Oxford:
8879:Kade, Otto
8692:Ross, Alex
8638:. Oxford:
8483:. Oxford:
8393:. Oxford:
8202:. Oxford:
8116:. Oxford:
8028:17 January
7998:. Oxford:
7900:. Oxford:
7757:. Oxford:
7502:. London:
7293:James Haar
7223:. Lanham:
7113:. Oxford:
7073:. London:
7031:. Oxford:
6991:. Ithaca:
6829:. Leuven:
6675:Sherr 2017
6636:Sherr 2000
6612:Sherr 2017
6600:Sherr 2017
6404:Leach 2014
6392:Reese 1940
6302:Reese 1984
6122:Haggh 1994
6110:Haggh 1994
6064:Brown 1980
6009:Reese 1954
5997:Reese 1954
5848:Reese 1954
5720:Noble 1980
5429:Sherr 2001
5417:Sherr 2000
5257:Reese 1954
5156:Sherr 2000
5017:Macey 1998
4957:Reese 1984
4933:Reese 1984
4909:Reese 1984
4861:Sherr 2011
4804:Macey 1998
4677:Sherr 2000
4460:Sherr 2017
4148:Reese 1984
4058:Reese 1984
4031:Sherr 2017
3978:1450â75)".
3686:Rice (1999
3666:F. Andrieu
3451:this image
3348:References
3326:Gramophone
3313:A Sei Voci
3067:Reputation
2721:Scaramella
2654:media help
2493:homophonic
2467:Bayezid II
2463:Cem Sultan
1877:monophonic
1713:melismatic
1678:See also:
1644:Mary Tudor
1414:Carpentras
1406:Memor esto
1344:Georg Rhau
1172:Pal Varday
1097:June 1489
1049:July 1485
713:Beaurevoir
665:castellany
627:Early life
585:diminutive
372:melismatic
227:Monteverdi
207:Palestrina
112:Burgundian
10525:Biography
10249:Offertory
10178:Colorists
10040:Mannerism
9259:El Grillo
8679:required)
8434:required)
8256:: 23â51.
8250:Recercare
8243:required)
8192:(2004) .
8182:140790222
8039:required)
7988:(2011) .
7941:required)
7882:required)
7683:163086950
7675:0961-1371
7550:(2019) .
7394:26 August
7135:(2003) .
7013:26 August
6950:26 August
6877:(2020) .
6687:Ross 2021
6416:Rice 1999
5288:Godt 1977
3744:Citations
3575:Both the
3441:are, see
2953:Beethoven
2927:Influence
2735:Portraits
2725:El grillo
2629:El grillo
2575:Psalm 130
2567:Psalm 119
2178:Lady Mass
2170:same name
2024:Julius II
1944:Forestier
1836:Agnus Dei
1735:polyphony
1732:imitative
1609:Inviolata
1514:Poliziano
1430:Psalm 130
1369:El Grillo
1303:Louis XII
1222:then the
1210:) on the
1100:Rome (in
1092:Probable
1070:Possible
1003:Possible
992:Possible
965:Location
729:altar boy
535:. In the
494:Inviolata
451:Louis XII
449:in Rome,
403:altar boy
368:polyphony
364:imitative
187:Tinctoris
89:Composers
10470:Category
10447: â
10310:Portugal
10234:Madrigal
10208:Venetian
9394:Category
9283:Scholars
9234:Miserere
8920:(1976).
8762:Archived
8744:29 April
8738:Archived
8706:Archived
8668:4 August
8662:Archived
8642:. 2001.
8622:27655169
8562:43738331
8497:Archived
8463:23013012
8423:4 August
8417:Archived
8262:41701332
8226:Archived
8174:41123290
8132:Archived
8022:Archived
7930:4 August
7924:Archived
7890:(2001).
7865:Archived
7829:(2001).
7773:Archived
7608:27655301
7388:Archived
7245:(1954).
7219:(1940).
7047:Archived
7025:(2009).
7007:Archived
6985:(2014).
6963:(eds.).
6944:Archived
6764:(2014).
6651:Rye 2017
5874:, Ex. 1.
3678:Binchois
3662:medieval
3579:and the
3405:Ockeghem
3376:Flanders
2999:, while
2802:'s 1611
2794:A small
2717:frottola
2559:Psalm 51
2555:Miserere
2548:Psalm 93
2509:madrigal
2459:ostinato
2275:Malcourt
2245:Ockeghem
2201:fantasia
2195:for the
1816:ordinary
1585:Mechelen
1581:Brussels
1572:Soignies
1518:Miserere
1474:â
1378:Psalm 31
1273:JOSQUINJ
1269:cantoria
1261:graffito
1257:JOSQUINJ
1208:JOSQUINJ
1152:benefice
1107:Certain
1081:Certain
1059:Certain
1044:Certain
1029:Certain
1014:Certain
981:Certain
842:Louis XI
681:Ardennes
641:Hainault
610:acrostic
598:dit name
415:Louis XI
399:Flanders
392:chansons
259:Madrigal
222:Victoria
177:Ockeghem
172:Binchois
137:Venetian
122:Colorist
79:Overview
64:a series
62:Part of
10499:Portals
10460:â
10290:Germany
10270:British
9354:Related
9077:at the
9067:in the
9061:(IMSLP)
9057:at the
8881:(ed.).
8768:2 March
8503:3 March
8481:: Music
7779:19 July
7621:Brepols
7556:Taschen
7164:Brepols
7053:23 July
6879:Josquin
6708:Sources
6638:, p. 10
5158:, p. 17
3192:in the
2796:woodcut
2690:ballade
2686:virelai
2682:rondeau
2385:, from
2271:Martini
2168:of the
2042:
1970:de Orto
1940:Faugues
1859:Canonic
1832:Sanctus
1777:chanson
1567:provost
1444:Ferrara
1319:
1194:there.
1126:at the
1067:Vienna
1024:Ascanio
923:
733:Cambrai
459:Ferrara
253:Chanson
202:Zarlino
192:Josquin
182:Busnois
49:woodcut
47:A 1611
10480:Portal
10305:Poland
10285:France
10275:Cyprus
10254:Pavane
10048:c.1600
9212:Motets
9131:Masses
9048:Scores
8932:
8856:
8837:
8810:
8712:23 May
8685:Online
8654:
8620:
8593:764097
8591:
8560:
8539:763903
8537:
8461:
8409:
8347:
8325:
8291:947006
8289:
8260:
8232:23 May
8218:
8180:
8172:
8138:15 May
8124:
8097:
8068:764140
8066:
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7973:740957
7971:
7916:
7871:1 June
7857:
7819:947243
7817:
7765:
7735:
7706:843491
7704:
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7039:
6999:
6971:
6936:
6930:Rodopi
6907:
6885:
6863:
6837:
6817:
6799:
6776:
6742:
4679:, p. 2
3311:, and
3288:oeuvre
3256:VOCES8
2946:, 1881
2937:Housez
2922:Legacy
2859:Cantus
2815:cantor
2708:; and
2688:, and
2473:Motets
2331:. The
2285:Brumel
2235:Morton
2189:a hymn
2006:masses
1952:La Rue
1824:Gloria
1788:Masses
1775:, and
1717:motifs
1705:Du Fay
1703:After
1530:plague
1524:, the
1508:, and
1483:ducats
1420:, and
1389:Troyes
1293:France
1224:Borgia
1124:rector
1089:Milan
1078:Milan
1011:Milan
914:given
697:Escaut
593:Breton
388:motets
384:masses
376:motifs
247:Anthem
197:Tallis
167:Du Fay
10537:Music
10424:Dance
10315:Spain
10295:Italy
10224:Carol
10203:Roman
8898:]
8885:[
8618:JSTOR
8589:JSTOR
8558:JSTOR
8535:JSTOR
8459:JSTOR
8323:JSTOR
8287:JSTOR
8258:JSTOR
8178:S2CID
8170:JSTOR
8095:JSTOR
8064:JSTOR
7969:JSTOR
7815:JSTOR
7798:]
7733:JSTOR
7702:JSTOR
7679:S2CID
7604:JSTOR
6714:Books
5447:Grove
3401:]
3353:Notes
3202:]
3165:]
3037:]
2944:]
2916:]
2889:]
2863:Altuz
2851:]
2813:), a
2785:]
2587:chant
2529:fugal
2501:psalm
1948:Fevin
1828:Credo
1820:Kyrie
1773:motet
1721:cells
1674:Music
1659:wafer
1536:Condé
1226:pope
1179:]
1000:Rome
977:Condé
962:Date
836:, in
723:Youth
701:Haine
589:Judoc
473:Condé
269:Motet
212:Lasso
132:Roman
10244:Mass
10042:and
9029:The
8930:ISBN
8854:ISBN
8835:ISBN
8808:ISBN
8784:See
8770:2022
8746:2021
8714:2022
8670:2022
8652:ISBN
8505:2022
8425:2022
8407:ISBN
8345:ISBN
8234:2022
8216:ISBN
8140:2022
8122:ISBN
8030:2022
8012:ISBN
7932:2022
7914:ISBN
7873:2022
7855:ISBN
7781:2022
7763:ISBN
7671:ISSN
7635:ISBN
7560:ISBN
7534:ISBN
7508:ISBN
7396:2022
7378:ISBN
7353:ISBN
7324:ISBN
7301:ISBN
7255:ISBN
7229:ISBN
7203:ISBN
7168:ISBN
7145:ISBN
7119:ISBN
7055:2022
7037:ISBN
7015:2022
6997:ISBN
6969:ISBN
6952:2022
6934:ISBN
6905:ISBN
6883:ISBN
6861:ISBN
6835:ISBN
6815:ISBN
6797:ISBN
6774:ISBN
6740:ISBN
5449:2001
4097:2013
3729:See
3717:and
3616:The
3596:See
3502:See
3489:and
3180:and
3167:and
3120:and
2991:and
2972:and
2824:The
2727:and
2602:and
2515:and
2317:dice
2255:Frye
2138:The
2039:lit.
1950:and
1850:The
1834:and
1812:mass
1810:The
1769:mass
1763:and
1755:and
1630:and
1616:and
1596:and
1520:and
1316:lit.
1198:Rome
920:lit.
906:and
898:and
756:and
699:and
685:Prez
652:and
622:Life
591:, a
575:Name
559:and
531:and
515:and
501:and
481:and
445:and
437:and
358:and
264:Mass
217:Byrd
10414:Art
9011:doi
8990:doi
8967:doi
8644:doi
8610:doi
8581:doi
8527:doi
8489:doi
8451:doi
8399:doi
8315:doi
8305:".
8279:doi
8208:doi
8162:doi
8087:doi
8056:doi
8004:doi
7961:doi
7906:doi
7847:doi
7807:doi
7725:doi
7663:doi
7625:doi
7596:doi
7195:doi
6290:MoC
3668:'s
3647:by
3270:by
3254:by
3088:of
2903:in
2768:by
2561:);
2423:ie'
2413:x F
2409:s D
2327:'s
2273:or
2263:(?)
2191:by
2037:" (
1968:by
1954:'s
1583:or
1579:in
1436:or
1267:'s
1186:or
669:Ath
667:of
457:in
10551::
9007:49
9005:.
8986:49
8984:.
8963:49
8961:.
8957:.
8928:.
8896:de
8806:.
8760:.
8736:.
8730:.
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8660:.
8650:.
8634:.
8616:.
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8604:.
8587:.
8577:17
8575:.
8554:62
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8533:.
8523:15
8521:.
8495:.
8487:.
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8224:.
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8158:52
8130:.
8120:.
8093:.
8083:18
8081:.
8062:.
8052:16
8050:.
8020:.
8010:.
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7994:.
7967:.
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7955:.
7922:.
7912:.
7904:.
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7863:.
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7845:.
7835:.
7813:.
7803:78
7796:fr
7771:.
7761:.
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7731:.
7721:57
7719:.
7698:21
7696:.
7677:.
7669:.
7657:.
7633:.
7602:.
7592:37
7590:.
7558:.
7532:.
7506:.
7386:.
7376:.
7351:.
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7291:,
7287:,
7283:,
7253:.
7227:.
7201:.
7166:.
7143:.
7117:.
7065:;
7045:.
7035:.
7005:.
6995:.
6942:.
6932:.
6833:.
6795:.
6772:.
6760:;
6756:;
6643:^
6592:^
6575:^
6534:^
6459:^
6348:^
6333:^
6282:^
6207:^
6168:^
6153:^
6090:^
6071:^
6028:^
5989:^
5954:^
5879:^
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